Gangster conventions

By Lauren What makes the genre tick?

The Generics: • Shot in low level lighting - Dingy, grey, as it connotes

negative sadistic themes • Located in urban cities, clubs, bars, casinos - secluded,

no escape for gangster• Props such as guns, knives, cars, money are used - this

is a measure of how much power the individual has (more stuff, more power)

• Costumes for a traditional gangster include a suit, a hat, a cigar and a long trench coat

• Themes – Betrayal, power, rivalry, evil, reality, power, materialism, ambition

• The women are presented traditionally - as helpless and usually only seen dolled up in curls and pretty dresses

• The men are presented traditionally – as heroes, so brave, clever, cool

• Shots - close ups of the protagonist, action shots and over-the-shoulder shots aswell as establishing-city shots are always popular in the genre

Film Noir• For my opening, I am planning to focus on classic Film Noir, maybe neo-noir

since we are in the 21st century and it will be hard to mirror the 1940’s completely.

• Film Noir is a sub-genre of gangster films that came along around the 1940's after World War II.

• Because of the economic post-war situation, the film industry needed to make films on a tight budget, using common locations and non all-star cast. Since that is similar to my situation, I feel it is the genre is easiest to do.

• It is French for "Black Film" which kind of says it all really. It's dark, it's twisted, and the outcome is unexpected.

• They were usually shot day-for-night because of their cheap camera equiptment.

• The major inspiration was American crime, gangster and detective novels of that time.

• Film Noir also presented women as never seen before - powerful. In fact, a running theme of the genre was femme fatale, which included women solely committing crimes.

Basic Film Noir Conventions…

• Femme Fatale • Misogynistic men• Low level lighting• Low angle shots • Dutch angle – squiffed shot • Shadows • Alcohol• Cigarettes • Trench Coats • Streets – urban setting• Rain• Guns • Complex storylines • Flashbacks• Voiceovers• Black and white• Limited camera movement

Themes Include..• Betrayal• Greed • Love• Power• Lust• Jealousy• Revenge • Power of the genders• Murder• Underestimation

The Big Sleep (1946)Non-diegetic classical music starts the scene, it’s not that clear, but there is a slight shadow to the left of the shot. This is the first thing the audience sees, the personalisation on the door suggests a big rich house, belonging to someone with authority .

A sharp, black suit, a tie and a hat, slicked black hair, neatly presented – reflects his job, suggests he’s a detective/fights criminals, this is traditional for a man. Shot establishes scene – big house. The music dies down as he inspects his surroundings

However the music starts up again, gentle orchestra strings connoting the woman’s tenderness. Audience assumes she is the ‘femme fatale’ in the movie. Stood by the flowers reinforces innocence? She is presented traditionally with hair done-up and clothes that show off her small ‘woman-ly’ figure.

This is an over-the-shoulder two shot showing the woman clearly flirting, giving the audience the impression that she’s girly and harmless. It also suggests she will be significant in the storyline and the focus of the man’s attention.

A classical romantic 2 shot, this shows the woman staring into the man’s eyes whilst he cradles her in her arms. Genders are shown traditionally, the man ‘protecting’ her. She then says “You’re cute”. There is a theme of lust between the pair. The piano

In this shot, the men are all wearing smart suits, bowties, ties etc. Whiskey is the choice of drink for the men. This connotes class and wealth, signifying a traditional representation of men. The music builds up and up representing the man’s anxiety as he meets the general.

The film begins with an establishing shot of a car on a highway at night driving towards the audience. The sign says “los Angeles” establishing location. The car is driven erratically but not out of control, the music is upbeat and dynamic creating an exciting atmosphere.

The camera is static and fades in and out of different shots following one car’s speedy journey through the night roads. Dodging cars and stop signs. The roads are pretty empty and the cars are old fashioned.

A man then gets out of the car, his features are not apparent apart from the hat on his head and a long trench coat. The music dies down, he knocks on the door and a man in a suit presumed to be a nightwatchman greets him as Mr Neff. This suggests the house belongs to someone wealthy.

Double Indemnity (1944)

The both get into an elevator and small talk is made between the pair. This isn’t someone’s home, maybe it’s a place of work? The man’s back is still turned, the audience have not yet seen his face, extending the curiosity. The conversation is one sided with the night-watchman asking questions and Neff replying with one worded answers, this highlights the power asymmetry. We learn Mr Neff owns an insurance business.

They get out the lift and through some glass doors, the camera tracks Mr Neff as he walks over and watches workers. The camera tracks going from a point-of-view shot to an over the shoulder shot.

The camera has now tracked alongside Neff and is now showing things from his point of view. Row after row of desks presumed to be an office of night workers. The glass doors read “insurance___” on the front. Suggesting Neff is boss to all these workers.

High angle street shot of the night, seems to be common in the openings I’ve watched. It is silent, apart from the slight sound of rain and the camera is panning to the left revealing more of the street. The scene is only lit by streetlamps suggesting an eerie undertone.

There is now a non-diegetic narration of a child, and a close up of a foot in a puddle, this is when the music begins.

The narrator speaks of the boy in the shot, he seems to be running away from someone. Similar to Double Indemnity, the film starts on a street, at dark, filming someone’s journey

Bugsy Malone (1976)

They are kids! Possibly mocking traditional gangsters. All wearing suits and hats. The red ties they are all wearing suggest they are in some sort of club. It is common for American gangsters to wear black suits and British to wear beige suits. The only sound is the diegetic parallel footsteps.

There they are, the presumed gangsters. The extreme long shot forbids the audience to make out any features other than their shadows. For now, they are black silhouettes in suits and hats. This reinforces their power.

The kid gangsters don’t have real guns, they have some kind of paintball ones. It is shocking for the audience to see a ‘kid in a man’s shoes’ as this is boys’ playtimes taken to the extreme.

Sin City (2005)The movie starts with diegetic jazz music, a city scene, and a long shot of a traditionally-looking woman in a dress. Everything is black and white APART FROM HER RED DRESS. This is an editing technique I will 100% use.

The audience now hears a voice over of a male, a silhouette-style male walking towards her. The saxophone only seems to play when the narration begins. This shot has a very wide depth of field which is common in all Noirs.

Over the shoulder shots are used SO MUCH in this opening. Especially when back and fourth dialogue is used. He is dressed smartly in a black suit, and slicked back hair.

A close up as he lights her cigarette, a flirtatious move. Her eyes watch him as he does so, her eyes suddenly go really green, almost devil-like. (A technique I may use)

She has her back to him, to emphasise the mysterious-ness. The jazz music is soft in the background and his narration describes her actions every once in a while.

The characters are white comic-like silhouettes with a city background, embracing in a romantic snog. This adds a touch of romance to the scene. (Not in the 2min opening but the audience is set up for a false sense of security as he shoots the woman in the end!)

It’s dark, the only light in the scene is the car lights. All that’s heard is the ambient sounds of the car driving along the highway. The camera tracks left as if the audience are following in a separate car

This is the first time the audience meets characters in this film. Only one is in focus suggesting he is the character the film will revolve around

Once again, the shot is only lit via the car. This long two shot allows the audience to view the men’s outfits in full. The men (hard to make out) are wearing black suits, suggesting their positional authority and criminal activity

Goodfellas (1990)

One of the guys suddenly pulls out a knife and starts stabbing the guy in the boot. Knives are not a traditional weapon used by a gangster. (Later on in the film, the audience learns he actually got the knife from his nan’s) The other men watch intently.

A two shot of the trio, same lighing. The guy on the left then pulls out a more traditional weapon (a gun) and shoots the already dead man. Scorsese uses flash-bulb-like editing to represent the gun shots.

Here is a close up of the protagonist. A freeze frame, narration, and contrapuntal non-diegetic sound begins. The music acts as a sound bridge leading to the next scene.