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Mafia Movies : A Reader, Second Edition
19. Family Therapy: Harold Ramis’s Analyze This and the Evolution of the Gangster Genre
edited_book
Author(s):
Louis Bayman
Publication date:
December 31 2019
Publisher:
University of Toronto Press
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Book Chapter
Publication date:
December 31 2019
Pages
: 132-137
DOI:
10.3138/9781487510466-020
SO-VID:
ad90f71f-2f49-45c9-bb52-4ddc86542ea4
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Book chapters
pp. i
Frontmatter
pp. vii
Contents
pp. xv
Acknowledgments
pp. 1
1. The Corleones at Home and Abroad
pp. 26
2. Gender and Violence: Four Themes in the Everyday World of Mafia Wives
pp. 41
3. Wallace McCutcheon’s The Black Hand: A Different Version of a Biograph Kidnapping
pp. 46
4. ‘Most Thrilling Subjects’: D.W. Griffith and the Biograph Revenge Films
pp. 52
5. Ethnicity and the Classical Gangster Film: Mervyn LeRoy’s Little Caesar and Howard Hawks’s Scarface
pp. 58
6. Playing Good Italian/Bad Italian on ABC’s The Untouchables
pp. 64
7. Prelude to The Godfather: Martin Ritt’s The Brotherhood
pp. 70
8. Michael Corleone’s Tie: Francis Ford Coppola’s The Godfather
pp. 76
9. Nihilism and Mafiositá in Martin Scorsese’s Mean Streets
pp. 82
10. Thematic Patterns in Francis Ford Coppola’s The Godfather: Part II
pp. 87
11. The Sexual Politics of Loyalty in John Huston’s Prizzi’s Honor
pp. 93
12. Between Postmodern Parody and Generic Hybridization: The Gangsters of Brian De Palma’s The Untouchables
pp. 98
13. The Bandit, the Gangster, and the American Army Shorts: Michael Cimino’s The Sicilian
pp. 103
14. Martin Scorsese’s Goodfellas: Hybrid Storytelling between Realism and Formalism
pp. 109
15. Redemption in Francis Ford Coppola’s The Godfather: Part III
pp. 114
16. Narrating the Mafia, Las Vegas, and Ethnicity in Martin Scorsese’s Casino
pp. 120
17. ‘Nothing Romantic about It’: Gender and the Legacy of Crime in Abel Ferrara’s The Funeral
pp. 126
18. Inside the Mafia: Mike Newell’s Donnie Brasco
pp. 132
19. Family Therapy: Harold Ramis’s Analyze This and the Evolution of the Gangster Genre
pp. 138
20. Martin Scorsese’s The Departed, or the Quest for a Departed (Ethnic) Identity
pp. 145
21. When Words Can Kill: David Chase’s The Sopranos
pp. 151
22. ‘Don’t Stop Believin’, Don’t Stop …’: (De)Structuring Expectations in the Final Season of The Sopranos
pp. 157
23. ‘History Doesn’t Repeat Itself, but It Does Rhyme’: Fictionalizing History in Boardwalk Empire
pp. 163
24. Mob Wives: Exploitation or Empowerment?
pp. 171
25. Which Law Is the Father’s? Gender and Generic Oscillation in Pietro Germi’s In the Name of the Law
pp. 177
26. The Visible, Unexposed: Francesco Rosi’s Salvatore Giuliano
pp. 183
27. Modernity, Mafia Style: Alberto Lattuada’s Mafioso
pp. 188
28. Francesco Rosi’s Hands over the City: A Contemporary Perspective on the Camorra
pp. 194
29. Prototypes of the Mafia: Luchino Visconti’s The Leopard
pp. 200
30. The Failure of the Intellectual: Elio Petri’s Filming of Leonardo Sciascia’s To Each His Own
pp. 206
31. Damiano Damiani’s The Day of the Owl: A Western Flirtation
pp. 212
32. Smaller and Larger Families: Lina Wertmüller’s The Seduction of Mimi
pp. 218
33. Deconstructing the Enigma: Logical Investigations in Francesco Rosi’s Lucky Luciano
pp. 224
34. Power as Such: The Idea of the Mafia in Francesco Rosi’s Illustrious Corpses
pp. 230
35. Marco Risi’s Forever Mary: Desperate Lives Converge in Sicilia ‘Non Bedda’
pp. 236
36. Threads of Political Violence in Italy’s Spiderweb: Giorgio Ambrosoli’s Murder in Michele Placido’s A Bourgeois Hero
pp. 242
37. Sacrifice, Sacrament, and the Body in Ricky Tognazzi’s La scorta
pp. 247
38. Pasquale Scimeca’s Placido Rizzotto: A Different View of Corleone
pp. 253
39. Marco Tullio Giordana’s The Hundred Steps: The Biopic as Political Cinema
pp. 259
40. Roberta Torre’s Angela: The Mafia and the ‘Woman’s Film’
pp. 265
41. Organized Crime and Unfulfilled Promises in Gabriele Salvatores’ I’m Not Scared
pp. 271
42. Growing Up Camorrista: Antonio and Andrea Frazzi’s Certi bambini
pp. 277
43. Lipstick and Chocolate: Paolo Sorrentino’s The Consequences of Love
pp. 283
44. The In(di)visibility of the Mafia, Politics, and Ethics in Bianchi and Nerazzini’s The Mafia Is White
pp. 289
45. Marco Turco’s Excellent Cadavers: An Italian Tragedy
pp. 294
46. Dispatches from Hell: Matteo Garrone’s Gomorrah
pp. 300
47. From Comedy to Commemoration: Pierfrancesco Diliberto’s La mafia uccide solo d’estate
pp. 306
48. Fabio Grassadonia and Antonio Piazza’s Salvo: The Sound of Redemption in an Infernal Landscape
pp. 312
49. Of Renegades and Game Players: Shifting Sympathies in Gomorra: la serie
pp. 321
50. Introduction – The Banda della Magliana, the Camorra, the ’Ndrangheta, and the Sacra Corona Unita: The Mafia On Screen beyond the Cosa Nostra
pp. 329
51. Historicizing Italy’s Other Mafias: Some Considerations
pp. 334
52. Romanzo criminale: Roma Caput Violandi
pp. 338
53. Romanzo criminale: la serie
pp. 342
54. Toxic Tables: The Representation of Food in Camorra Films
pp. 346
55. The New Mafia in Una vita tranquilla
pp. 349
56. Soap Operas
pp. 353
57. Response #1
pp. 355
58. Response #2
pp. 357
59. Response #3
pp. 359
60. Conclusion
pp. 363
61. The Godfather: Performance and Stardom
pp. 365
62. The Godfather: Adaptation
pp. 367
63. The Godfather: Gender
pp. 369
64. The Godfather: Scene Analysis – Don Vito’s Office
pp. 371
65. The Godfather: Scene Analysis – The Baptism/Murder
pp. 373
66. The Godfather: Scene Analysis – The Finale
pp. 375
67. The Sopranos: Antiheroic Masculinity
pp. 377
68. The Sopranos: Gender
pp. 379
69. The Sopranos: (Sub)Urban Space
pp. 381
70. The Sopranos: Episode 1.01, ‘The Sopranos’
pp. 383
71. The Sopranos: Episode 1.05, ‘College’
pp. 385
72. The Sopranos: Episode 2.04, ‘Commendatori’
pp. 387
73. Romanzo criminale: Performance and Stardom
pp. 389
74. Romanzo criminale: Adaptation/Transmedia
pp. 391
75. Romanzo criminale: Gender
pp. 393
76. Romanzo criminale: Politics and Terrorism
pp. 395
77. Romanzo criminale: Scene Analysis – The Aldo Moro Kidnapping
pp. 397
78. Romanzo criminale: Scene Analysis – The Bologna Bombing
pp. 399
79. Gomorrah: Gender
pp. 401
80. Gomorrah: Metacinematic References
pp. 403
81. Gomorrah: Urban Space
pp. 405
82. Gomorrah: Scene Analysis – Opening Sequence
pp. 407
83. Gomorrah: Scene Analysis – The Initiation of Totò
pp. 409
84. Gomorrah: Scene Analysis – The Finale
pp. 411
Filmography
pp. 417
Selected Bibliography
pp. 425
Contributors
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