By Nicole Rafter
Videos play a significant position in shaping our realizing of crime and the realm as a rule, aiding us outline what's reliable and undesirable, fascinating and unworthy, lawful and illicit, robust and susceptible. Crime movies bring up debatable concerns concerning the distribution of social energy and the meanings of deviance, and so they offer a secure house for fantasies of uprising, punishment, and the recovery of order.
during this first finished learn of its style, famous criminologist Nicole Rafter examines the connection among society and crime motion pictures from the views of felony justice, movie historical past and procedure, and sociology. facing over three hundred movies starting from gangster and cop to trial and criminal video clips, Shots within the Mirror concentrates on works within the Hollywood culture but in addition identifies a darker pressure of severe motion pictures that painting crime and punishment extra bleakly.
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Additional resources for Shots in the Mirror: Crime Films and Society
Sample text
In 1925 silent filmmaking was the standard; a mere five years later Hollywood produced only films with sound. The speed of the transition surprised almost everyone. Within thirty-six months, formerly perplexing technical problems were resolved . . 10 While sound intensified the demand for movies of all types, crime itself helped make the 1930s a golden decade for the crime film. Prohibition 19 20 Shots in the Mirror ended in 1933, but organized crime did not. J. 11 At the same time, the famous Wickersham Report of 1931 and numerous state follow-ups condemned criminal justice agencies for ineffectiveness and corruption.
Playboy hit the market in 1952. Americans began accepting central tenets of Freudian theory, which led to new interpretations of criminality and a more liberal view of sex. In response to these social shifts, and in an attempt to lure television viewers out of the home and into the theaters, the Production Code in 1956 loosened its stance on typically taboo topics like drug abuse and prostitution. For Hollywood in general, this meant more productions geared to adult audiences, a change that helps to explain the rise of the melodrama (East of Eden [1954], All That Heaven Allows [1955], Giant [1956], Peyton Place [1957]), and the "sex" comedy (Gentlemen Prefer Blondes [1953], The Seven Year Itch [1955], Some Like It Hot [1959]).
Within thirty-six months, formerly perplexing technical problems were resolved . . 10 While sound intensified the demand for movies of all types, crime itself helped make the 1930s a golden decade for the crime film. Prohibition 19 20 Shots in the Mirror ended in 1933, but organized crime did not. J. 11 At the same time, the famous Wickersham Report of 1931 and numerous state follow-ups condemned criminal justice agencies for ineffectiveness and corruption. Criminals and officials alike stimulated a public appetite for movies about crime and punishment.