Companion to the Gangster Film

GEORGE S. LARKE-WALSH is Assistant Professor in the Department of Media Arts at the University of North Texas. Her current scholarly projects are focused on documentary history and theory as well as the gangster genre in international cinema. She has published articles on authorship and performativity in documentary as well as various contributions and a book on the representation of the Mafia in Hollywood cinema.

• Notes on Contributors viiiAcknowledgments xviIntroduction 1George S. Larke‐WalshPart I The Americas 211 Mary Pickford Meets the Mafia 23Amy E. Borden2 Tough Talk: Early Sound and the Development of American Gangster Film Vernacular, 1928–1930 41Ron Wilson3 How Good Boys Go Bad: The Changing Face of the Gangster Film in America 58John E. Petty4 Making of a Mobster: From Myth to the Crystallization of the Mafia Archetype in 1950s and 1960s Italian and Italian American Film 76Ryan Calabretta‐Sajder5 Moral Ambiguities: The Frenchness of New Hollywood Gangster Families 97Isolde Vanhee6 The Assassin’s Economics of Killing: Money, Honor, and the Market of Murder 113Fran Mason7 The 1990s Hollywood Gangster: Generic Reflections and Deflections 129Karine Hildenbrand8 “Based On A True Story”: Public Enemies and the Biographical Gangster Film 146Stephen Gaunson9 The Gangster in Hispanic American Cinema 166Philip Swanson10 The Jamaican Gangster Film: Badman, Rude Bwoys, and Dons 182Imruh BakariPart II Europe 20911 When Criticism Meets Gangster Films: The Spiv Cycle as Oppositional Aesthetics in Postwar Britain 211Ana Rodríguez Granell12 The Patriarchal Figure in the 1950s French Gangster Film: Legendary Men from a Recent Past 228Thomas Pillard and Translated by Myriam Chihab13 Mafia, Mobility, and Capitalism in Italy Circa 1960 244Luca Peretti14 Gangsters in Turkish Cinema 262Hülya Önal15 Sun‐Drenched Corruption: Organized Crime, Global Capitalism, and the Mediterranean Coast in Recent Spanish Cinema 283Vicente Rodríguez Ortega16 The Russia They Have Lost: The Russian Gangster as Nostalgic Hero 302Lioudmila Fedorova17 A Hint of Lavender: The Gay Gangster in British Crime Cinema 319Paul Elliott18 The Modern British Gangster Film 334Tom RyallPart III Asia 35319 Death and Duty: The On‐Screen Yakuza 355Elayne Chaplin20 Yakuza no Onnatachi: Women in Japanese Gangster Cinema 377Laura Treglia21 Futile Liberation: Post‐Martial‐Law Taiwanese Gangster Films 395Dominique Liao22 Ruling the Men’s Den: Crime, Outrage, and Indian Women Gang Leaders 413 Sony Jalarajan Raj, Rohini Sreekumar, and Nithin Kalorth23 Tsui Hark’s Film Workshop: Political Cues in the Gangster Film 1986–1989 430James Fenwick24 The Godfather Legacy: Homage and Allusion in Transnational Cinema 446George S. Larke‐Walsh25 Gangsta Gangsta: Hong Kong Triad Films, 1986–2015 463Valerie Soe26 Politics, Social Order, and Hierarchies in Post‐Millennium Hong Kong Cinema 480Kelvin Ke Jinde27 Jung Doo‐hong and the Gangster Body: Kkangpae in Contemporary South Korean Cinema 497Se Young KimIndex 518