Introduction
SECTION I: Gangsterism and Capitalism: The Mob Movie and After
The supplement of Coppola: Primitive accumulation and the Godfather trilogy
Hobbes after Marx, Scorsese after Coppola: On GoodFellas
Tony Soprano and the end(s) of the mob movie
SECTION II: Noir and its Discontents
Marxism, cinema, and some dialectics of fi lm noir and science fiction
Noir, neo-noir, and the end of work: From Double Indemnity to Body Heat
SECTION III: Empire and Gender in the John Wayne Western
Versions of the American imperium in three Westerns by John Ford
Post-heterosexuality: John Wayne and the construction of American masculinity
Carl Freedman is the James F. Cassidy Professor of English at Louisiana State University. He is the author of many articles and several books, including The Age of Nixon, The Incomplete Projects: Marxism, Modernity, and the Politics of Culture and Critical Theory and Science Fiction.
'A dense academic reading affair written by an author who is
obviously deeply fascinated by the social insights provided by
watching cinema through the eyes of Marxism.'
*Trevor Hogg, Flickering Myth*
Carl Freedman once more proves himself the most sensitive reader of
texts and the most lucid explicator of critical theory. It is a
commonplace that mob movies expose the logic of capitalism, but his
nuanced analysis of the Godfather trilogy in terms of Marx’s
concept of primitive accumulation for once actually makes the case
– and makes it stick. Freedman’s inclusion of westerns in crime
cinema merely appears idiosyncratic – Edwin S. Porter’s 'The Great
Train Robbery' was seen as a violent crime movie long before anyone
called it a western – and his consummate discussion of John Wayne’s
post-heterosexual masculinity is worth the price of admission
alone.'
*Mark Bould, Reader in Film and Literature, The University of the
West of England*
'Whether discussing the "post-heterosexuality" of John Wayne, or
the role of what Marx called "primitive accumulation" in the
Godfather films, Carl Freedman offers thought-provoking new
insights on classic Hollywood films.'
*Steven Shaviro, DeRoy Professor of English, Wayne State
University*
'Versions of Hollywood Crime Cinema is a fascinating look at film
theory and criticism. Instead of limiting crime cinema to its usual
place in the procedural, detective, and gangster arenas, Versions
situates crime as an inclusive activity, capable of appearing in
westerns and science fiction as well. Freedman dissects specific
movies in an assortment of genres utilizing Marxism and gender
studies to anchor well-balanced theoretical viewpoints.'
*Rodney Donahue, Journal of American Culture*
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