images‚ talk story and legends. But why do authors add such forms and styles in their contemporary texts? Well‚ the answer can be found in the literary works of Mine Okubo Citizen 13600‚ Maxine Hong Kingston The Woman Warrior and Le Thi Diem Thuy The Gangster We are All Looking For– all three writers uses theses forms as a way to give the readers a sense of the characters development as an Asian American. Okubo’s drawings give visualization about her struggle in America during the time of political strife
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vs. Evil‚ a universal theme seen throughout the history of story telling‚ can find itself to be especially malleable and suprising in the modern gangster movie. In the classic depiction of this struggle‚ the Gangster was looked upon as the criminal‚ the bad guy‚ while today this is not always the case. In this paper I will be explaining the early gangster films restrictions on who could be good or evil‚ and then introduce the two films I will be comparing. After a brief summary‚ a comparing and contrasting
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The Gangster American Dream The Great Depression created great financial hardships all around the United States. Along with a poor economy‚ prohibition was greatly discouraged as well‚ starting a tremendous social movement in the 1920s and 30s‚ specifically related to gang crimes. These gangsters used bootlegging‚ bank robberies‚ and many other tactics in order for them to survive the national financial crisis. The two photograph selected depict most of the most notorious criminals of the Great
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Michael Corleone was the tragic hero because he qualified to Aristotle’s traits. For example‚ Michael was born in a wealthy family and he could choose his life path. He joined the army and went to Frontline during World War II. Many Americans praised soldiers as a hero because soldiers killed enemies and protected the whole country. For instance‚ in the movie‚ one of the police was hesitated after he heard Captain McCluskey ordered him and other policies to grab Michael. However‚ the police believed
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evaluate its explanation’. In Hong Kong‚ female gangsters occupy a very small proportion of gang population‚ only 6% in 2001. However‚ the number of girl gangsters has an increasing trend that rises to 15% in 2005. Girls are also involved in gang activities more actively than before. There are three main parts in this paper. The first part focuses on the definitions of ‘functionalist point of view’ and ‘female juvenile gangs’. Features of girl gangsters like backgrounds‚ motives of joining gangs and
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culture. Meanwhile his co-workers‚ Michael and Samir (and various others) are set to be terminated. Luckily‚ Peter’s loyalty remains with his co-workers‚ giving way to class consciousness. This is when the use of gangster rap begins to reach its influential height in the film. 90s West Coast gangster rap has its roots in a specific counterculture; one that is far removed from mainstream American ideology. It is essentially the polar opposite of the film’s suit-and-tie bureaucratic office setting. The main
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extreme hardship came a group of people who for many different reasons chose to make their own rules and live outside the law. These gangsters’ exploits seemed to have been focused in Middle America from as far as Minnesota and Wisconsin to Texas and Louisiana. The Midwestern crime wave‚ which captivated a disenchanted public‚ involved brazen but personable gangsters who shot and robbed their way across country. Crime has been no stranger to American history‚ from the very beginning there has been
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turn to bootlegging‚ especially the gangsters. The well-known Al “Scarface” Capone was the leader of a gang in Chicago and known as an enemy to the American government. Shootouts and assassinations were not uncommon during this period‚ and in fact‚ cases of such criminal activity on the North Side were on the rise. Known as the most infamous gangster killing of the 1920’s‚ The St. Valentine’s Day Massacre‚ was the beginning of the end of Al Capone and gangsters’ bootlegging operations. Prohibition
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their liquor instead of that of rival gangs‚ they used violence. Gangsters’ main methods of gaining control were by instilling fear into local business; once people feared them they were able to exploit them. “By the 1920s‚ Americans had consumed over twenty-five million gallons of illegal liquor‚ and bootlegging became a one billion dollars business” As the bootlegging business blossomed‚ street gangs became established gangsters. With their new found wealth they were able to pay off law enforcement
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realm of media cater for numerous factors such as audience expectation and commercial viability. Richard Jameson encapsulates the familiarity that accompanies media genre when he states that “name one of the classic bedrock genres – western‚ comedy … gangster‚ science fiction – and even the most casual movie goer will come up with a mental image‚ partly visual‚ partly conceptual”. Although genre can be used in this style of compartmentalization and preconception as a template for directors‚ on a deeper
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