Mob culture: hidden histories of the American gangster film

Abstract

I. Producing Crime: Gangs and the Gangster Film Gangsters and Governance in the Silent Era Lee Grieveson, King's College, University of London Why Boys Go Wrong: Gangsters, Hoodlums, and the Natural History of Delinquent Careers Richard Maltby, School of Humanities at Flinders University, South Australia Gang Busters: The Kefauver Crime Committee and the Syndicate Films of the 1950s Ronald W. Wilson, independent scholar residing in Lawrence, Kansas II. Gangster Transgressions: Gender and Sexuality Ladies Love Brutes: Reclaiming Female Pleasures in the Lost History of Hollywood Gangster Cycles, 1929-1931 Esther Sonnet, University of Portsmouth A Gunsel Is Being Beaten: Gangster Masculinity and the Homoerotics of the Crime Film, 1941-1942 Gaylyn Studlar, University of Michigan, Ann Arbor Mother Barker: Film Star and Public Enemy No. 1 Mary Elizabeth Strunk, Syracuse University Good Evening Gentlemen, Can I Check Your Hats Please?: Masculinity, Dress, and the Retro Gangster Cycles of the 1990s Esther Sonnet, University of Portsmouth, and Peter Stanfield, University of Kent at Canterbury Waddaya Lookin' At?: Re-reading the Gangster Film Through The Sopranos Martha P. Nochimson, Mercy College Film Studies Program III. Other Gangsters: Race, Politics, and the Gangster Film Black Hands and White Hearts: Southern Italian Immigrants, Crime, and Race in Early Cinema Giorgio Bertellini, University of Michigan American Like Chop Suey: Invocations of Gangsters in Chinatown, 1920-1935 Peter Stanfield, University of Kent at Canterbury The Underworld Films of Oscar Micheaux and Ralph Cooper: Toward a Genealogy of the Black Screen Gangster Jonathan Munby, Institute for Cultural Research, Lancaster University, UK Walking the Streets: Black Gangsters and the Abandoned City in the 1970s Blaxploitation Cycle Peter Stanfield, University of Kent at Canterbury

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