enters us and disappears. William Wyler's gangster melodrama Dead End (1937) portrayed the efforts of New York slum dweller (Sylvia Sidney) to keep her gang member brother Tommy (Billy Halop, one of the Dead End Kids) from emulating gangster Humphrey Bogart. Turning from light art (in the sense of light as an artistic medium) meant, however, by no means a turning away from his intensive study of this phenomenon of light. The first 'gangster' pulp had the same title, Underworld, a breeding ground for many crime thriller plots. Crime films encompass or cross over many levels, and may include at least these different types of films: the gangster film, the detective (or who-dun-it) film, the crime comedy, the suspense-thriller, and the police (procedural) film. It wasn't the first gangster movie ever made, but it was the first significant gangster film that has survived. Often from poor immigrant families, gangster characters often fall prey to crime in the pursuit of wealth, status, and material possessions (clothes and cars because all other "normal" avenues to the top are unavailable to them. These codependent facets of the libido lie at the center of all erotically tinged art, from overly familiar icons such as Sandro Botticelli's Birth of Venus, Edouard Manet's unblushing Olympia, and Auguste Rodin's Kiss to Pierre Bonnard's loving, intimate depictions of a perennially young Marthe. Like David Hockney's pithy views of Los Angeles swimming pools, his Working Girls, Miami, and Dancing are explorations of quintessential American themes. However, in the large version the dancer and his partner are converted to a dark wavy-edged mass and the columns are replaced by two musicians.
Traffic in Souls (1913) (aka While New York Sleeps), a six-reel melodrama, was a "photo-drama" expose of white slavery (entrapment of young women into prostitution) at the turn of the century in NYC, although the film exploitatively promised steamy sex in its advertisements. They may appeal to both children and adults, depending upon the particular film. Is she posing for a painter and has she used a lull period to allow her thoughts to wander? It was brought to the attention of the Hays Code for its unsympathetic portrayal of criminals, and there was an ensuing struggle over its release and content. The shining bright sunlight in the works contributes to our positive and pleasant impression of the pictures. Beyond them and oblivious to their covert embrace, a courtly couple moves gracefully across an empty dance floor.
Crime and, gangster, films, filmsite
Watership Down (film), wikipedia
26 Years of Growth: Shanghai Then and Now
Nigel VAN wieck: Essay's