The Gangster Hood Film - Literature review Example

Name: Course: Tutor: Date: The gangster hood film Introduction The film industry considers genre as the way that the film is categorized on the basis of the elements in the narrative of the film. Film genres are in most cases categorized according to the settings of the film. However, films that have similar settings can be different due to the incorporation of different moods and themes. Besides the two main categories of documentary and fiction film genre, other bases of categorizing film genre include the theme topic, the mood, the format and the settings. Furthermore, the film genre can be categorized according to the target audience of the film. Majority of theories on film genre are derived from criticism of literary genre. In this respect film theorist in the likes of Rick Altman have come up with exceptional theories on film genre (Grant 23). This paper seeks to provide an incisive outlook on the ways that the gangster hood film draws and shifts the parameters of the genre in reference to Rick Altman’s semantic or syntactic approach to the film genre and the critical work on the gangster film. Moreover, this paper will incorporate close analysis of relevant films to support this analysis. Rick Altman’s Semantic/Syntactic Approach to the Film Genre Altman’s approach to film genre accentuates that genres are organized and characterized by two main axes which involve the incorporation of linguistic terminology, the syntactic and semantic. The Semantic axis entails the words that are spoken in a particular genre. The syntactic axis refers to the organization of these words in a sentence that is meaningful and intelligible. All films in a specific genre have a set of semantic elements in the settings, aspects of traditional iconographic and costume among many other elements. In the film “Face off “(1997) a contemporary blockbuster that is action packed there are a number of semantic components that range from light artillery, sequences of explosions and chases. The syntactic dimension of the genre films comprise of characteristic arrangements of semantic elements in thematic motifs, plots and symbolic relationships. The Face off films shares similar recurrent motifs with the 1990’s action films (Altman 26). According to Rick Altman’s outlook, the semantic approach to film genre has less explanatory power and is applicable to a lot of films. On the other hand, the syntactic approach capitulates to broad applicability in exchange for the aptitude to isolate the particular meaning – bearing structures of the genre. By choosing the semantic approach the explaining power in a genre is left out however this approach has broader applications. The incorporation of the syntactic approach has less applicability. Both the semantic and syntactic approaches to genre have over the course of time been analyzed and disseminated as separate entities despite of the congruence in their names. Factors that bring a distinction between the semantic and syntactic approach to film genre include, the traits, shots, characters, attitudes, sets and location. The semantic approach accentuate the building blocks of a genre whereas the syntactic approach portrays the privileges of the structures that these building blocks are arranged. The western film genre vividly portrays the difference between the syntactic and semantic definitions. The western kind of films can be termed as those films whose conditions, atmosphere and values are situated in the western side of America. The atmosphere element entails features like dust, earth and water among many others. Therefore, the western vocabulary comes as a result of syntactic relationships. Evidently the two approaches to film genre are complementary since they can be combined and incorporated in the same film set. Altman proposes both semantic and syntactic approach to film genre. Each corpus matches up to a varying approach to generic definition and analysis. The semantic definition in reference to its tautological scenery has the goal of broad applications whereas the syntactic definition is geared towards explaining the genre and the particular syntactic relationships. Altman points out that dwelling on one approach while neglecting the other approach is simply turning the blind eye. However, when the semantic and syntactic approaches are simultaneously accepted the genericity level of the film is upheld. Moreover, dual approach allows a more accurate depiction of the various inter-generic connections which are to a large extent suppressed by the single minded approaches. According to Altman’s sentiments it is quite impossible to give an accurate description to any film without combining the various aspects of syntactic and semantic approach to film genre. The challenges that have occurred in the history of genres cause us to value the two approaches (Altman 30). As an effective hypothesis, Altman proposes that genres should work in regard to two main ways. Either as an existing syntax that has adopted semantic elements or as relatively stable semantic sets that have been established through syntactic experimentation and thereafter become durable and coherent syntax. In this case the characteristics of the semantic configuration can be identified even prior to the stability of the syntactic pattern. This ascertains the need of duality in generic corpus. The depiction of the way that the set of semantic givens become into stable syntax makes up the history of genre yet at the same time it identifies the main structures in which the genre theories are established. It is worth noting that the interplay that occurs between the semantic and syntactic approaches provide a theoretical and historical mill. By taking into account the multiple connections between the syntax and semantics a new continuity is established. Furthermore, connections between the syntax and semantics approaches establish film analyses that are relevant, genre history and theory. Altman proposes that the relationship between the syntactic and semantic approach is comprised of ideological and ritual applications of genre. Nevertheless, when a lasting fit is actualized the semantic genre becomes syntactic because a common ground has been established in a setting whereby the audience values coincide with that of the film’s ideologies. The formulation of a particular syntax within a specific semantic context has double functions. Foremost, it integrates the elements in the film in a logical order it also accommodates the desires of the audience to the concerns of the studio. Gangster films inherently borrow the literary traditions in so doing they perpetuate the linguistic meaning of gangster hood. Additionally, they establish syntactic ties that express sets of new contextual meaning. The difference between syntactic and semantic approaches corresponds with the variations between the primary elements in the makeup of linguistics and the secondary textual meanings that are constructed through the syntactic bonds that are developed through the primary elements. This difference is accentuated in the genre approach presented since they correspond to the modish theory of language and narrative relation. Nonetheless, the distinction of semantic and syntactic approaches is vital to other film theories. Altman capitalizes on the choices of semantic atmosphere and elements due to the fact that a specific semantic applied in a particular cultural context brings into play a given syntax that are associated with semantics in other contexts. The outcome of a syntactic that has been established through semantic signals is compared to a parallel tendency that has syntactic signals that bring about a pre-determined semantic field (Altman 26). Critical work on the gangster film The gangster genre films gained prominence in the early 1930’s. Initially these films did not have literary sources but they had strong topical effects of their target audience. Their narratives were mainly based on criminal activities that took place during the shadowy metropolises. Over the course of time this film genre has been refined its conventions to lay the foundation of the contemporary gangster film genre. In reference to Altman’s semantic and syntactic approach to film genre it would be rational to point out that gangster films form their basis on the confluence of peculiar social contexts and technical innovations in order to spur its audience. Common features in gangster films such as gun shots, screams and other audio effects develop incisive narratives. The focus of gangster films is in most cases centered on cold-blooded criminals notoriously modeled to rise to power. Critics argue that the impact of this genre can be so strong such that they can model real life mannerisms. In this genre the criminal is one that gains status and has a perverse ego that is profit minded. As a result of these visual conventions and thematic classic gangster films in the likes of “The Public Enemy” and “Scarface “among many others have been consistently criticized for glamorizing violence and portraying criminals as the appealing hero. (Barry 18). The settings of gangster films are typically portrayed in the images of back alleys and dark urban worlds. In this type of setting darkness is associated with criminal activities. This is vividly seen in the opening scene of the film the “God Father”. Throughout the development of the gangster film genre index of political cultural and social values are given. Trendy forms of gangster films portrayed the concern and ideas of the general public. In the course of the genre developments the moral pace of the film stance kept pace with the different attitudes. Evidently the gangster film genre revolves around various elements that closely relate to Rick Altman’s semantic and syntactic approach to the film genre (Barry 15). Ways that the gangster hood films draw and shift parameters in the genre There are a number of ways of analyzing film genre, a formalist or structural approach of analyzing film genre primarily focuses on identifying syntax and prototypical semantic building blocks and how they interact with a given cultural context. (Altman, 1991). In regard to the gangster hood film genre semantic components in this genre include features such as the plot, themes or values, imagery and the settings. These features are used by film makers to draw on a construct between the gangster genre and the other film genre. For instance in the gangster film genre most film plots are characterized by a series of events that are dominated with crime, violence, escapades, shoot outs and chases. In the film the “God father” (1972) the plot is dominated by a series of crime waves, assassination attempts and violence. The plot of this film brings out a clear distinction with other film genre (Nourmand 14). Evidently, the themes in gangster films are semantic components. Police corruption, crime and legitimacy are the themes that revolve around American gangster films. For instance in the God father film the struggle of Michael Corleon to legitimize his business takes root throughout the film. Moreover the Godfather film portrays the police force as corrupt since they do not take into account the grievances of the mob (Nourmand 14).Conversely the American gangster films portray the police force as super heroes of curbing crime. The themes in the film Bony and Clyde to a large extent revolve around crime, violence, escapades, shoot outs and chases. The imageries in gangster films are essentially embedded with sceneries of violence and the liable outcomes. Apparently the values that the contemporary gangster films tend to put across is that crime does not pay and the outcomes of crimes are quite critical. The gospel of an eye for an eye and tooth for a tooth is also an eminent theme in the gangster film. In reference to the contemporary critical work on the gangster film the settings in the gangster films are typically portrayed in the images of back alleys and dark urban worlds. Altman approach to film genre illustrates that the semantic components especially those in the western film world consist of natural and open settings and Wild West values linked to the cowboy sheriff scenario (Mason 34). The syntactic approach to gangster hood film genre focuses on the relationships between the elements of nature versus culture, the past versus the future, civilization versus frontier and individual versus community among many other elements. Alternatively, the semantic perspective in the gangster hood film genre is used to generalize films that share common components. The syntactic perspective largely explains the semantic components and how they create a distinctive meaning. Shifting our focus on the two approaches proposed by Altman assists in bringing out a distinction between the gangster hood genre and the other genres. The gangster genre has borrowed syntactic relationships that were previously established in other film genre. Through maintaining simultaneous descriptions in regard to the two parameters this genre capitulates to the western trends of film making that involve the use of guns, detectives and back alleys sceneries. Critical work on the gangster film genre observes that this genre shares syntactic patterns with other genres. Tension emerges in the course of giving analysis on the familiar, conventional and the new forms of formulaic texts in this genre (Grant 23). The syntactic approach to gangster hood film genre gives the contextual out look of the audience. For instance gangster films are made up of contextual languages that tend to imply different meanings to the audience as compared to other genres. The words used in gangster films to a large extent demonstrate violence, threat, terror and fear. Such words are most in cases cliché in this genre however when they are used in another film genre they are somewhat out of the intended context. In reference to the characters in the gangster film genre the syntactic components divulge the audience’s attitudes towards the characters and their alleged activities. For instance the film “Soprano” reflects to the audience an ironic post modern view towards crime. The film combines both psychological and comic elements to give a different outlook on crime. As with the gangster characters the audience develops admirations towards the resistant character however they recognize that these characters are not completely above the law (Mason 34). In reference to Rick Altman’s sentiments on semantic and syntactic approach to the film genre the gangster hood film genre through the use of syntactic dimensions has involved characteristic arrangements of semantic elements in thematic motifs, plots and symbolic relationships (Altman 26). For example, the “Face off film” shares similar recurrent motifs that have been established through the various semantic components. The thematic motifs, plots and symbolic relationships in this film have been incorporated to build up a typical gangster hood genre. Although gangster films incorporate both semantic and syntactic approach to film genre, the semantic approach is used more since according to Rick Altman’s outlook, the semantic approach to film genre has less explanatory power and is applicable to a lot of films. Gangster films incorporate less explanatories due to the fact that they are action packed nevertheless the applicability of this features is quite wide in this genre. In contrast, the syntactic approach capitulates to broad applicability in exchange for the aptitude to isolate the particular meaning – bearing structures of the genre. Conclusion Film genre refers to the way that the film is categorized on the basis of the elements in the narrative of the film. The objective of this paper was to provide an incisive outlook on the ways that the gangster hood film draws and shifts the parameters of the genre in reference to Rick Altman’s semantic or syntactic approach to the film genre and the critical work on the gangster film. As an effective hypothesis, Altman proposes that genres should work in regard to two main ways. Either as an existing syntax that have adopted semantic elements or as a relatively stable semantic sets that has been established through syntactic experimentation and thereafter becomes a durable and coherent syntax. In gangster hood film genre the syntactic approach to gangster hood film genre focuses on the relationships between the elements of nature versus culture, the past versus the future, civilization versus frontier and individual versus community among many other elements. On the other hand, the semantic elements revolve around features such as the plot, themes or values, imagery and the settings in this film genre. Works Cited Altman, Rick. A Semantic/Syntactic Approach to Film Genre. Cinema Journal 23, no. 3. Texas: University of Texas Press, 1995, p 26-40. Barry, Langford. Film genre: Hollywood and beyond. New York: Edinburgh University Press. 2005, p 13- 19. Grant, Barry. Film genre reader III. Texas: University of Texas Press. 2003, p 23. Mason, Fran. American Gangster Cinema: From Little Caesar to Pulp Fiction. New York: Longman Publishers. 2003, p 34. Nourmand, Tony. The Godfather in Pictures. London: Boxtree Publishers.2007, p 14. Read More

The western film genre vividly portrays the difference between the syntactic and semantic definitions. The western kind of films can be termed as those films whose conditions, atmosphere and values are situated in the western side of America. The atmosphere element entails features like dust, earth and water among many others. Therefore, the western vocabulary comes as a result of syntactic relationships. Evidently the two approaches to film genre are complementary since they can be combined and incorporated in the same film set.

Altman proposes both semantic and syntactic approach to film genre. Each corpus matches up to a varying approach to generic definition and analysis. The semantic definition in reference to its tautological scenery has the goal of broad applications whereas the syntactic definition is geared towards explaining the genre and the particular syntactic relationships. Altman points out that dwelling on one approach while neglecting the other approach is simply turning the blind eye. However, when the semantic and syntactic approaches are simultaneously accepted the genericity level of the film is upheld.

Moreover, dual approach allows a more accurate depiction of the various inter-generic connections which are to a large extent suppressed by the single minded approaches. According to Altman’s sentiments it is quite impossible to give an accurate description to any film without combining the various aspects of syntactic and semantic approach to film genre. The challenges that have occurred in the history of genres cause us to value the two approaches (Altman 30). As an effective hypothesis, Altman proposes that genres should work in regard to two main ways.

Either as an existing syntax that has adopted semantic elements or as relatively stable semantic sets that have been established through syntactic experimentation and thereafter become durable and coherent syntax. In this case the characteristics of the semantic configuration can be identified even prior to the stability of the syntactic pattern. This ascertains the need of duality in generic corpus. The depiction of the way that the set of semantic givens become into stable syntax makes up the history of genre yet at the same time it identifies the main structures in which the genre theories are established.

It is worth noting that the interplay that occurs between the semantic and syntactic approaches provide a theoretical and historical mill. By taking into account the multiple connections between the syntax and semantics a new continuity is established. Furthermore, connections between the syntax and semantics approaches establish film analyses that are relevant, genre history and theory. Altman proposes that the relationship between the syntactic and semantic approach is comprised of ideological and ritual applications of genre.

Nevertheless, when a lasting fit is actualized the semantic genre becomes syntactic because a common ground has been established in a setting whereby the audience values coincide with that of the film’s ideologies. The formulation of a particular syntax within a specific semantic context has double functions. Foremost, it integrates the elements in the film in a logical order it also accommodates the desires of the audience to the concerns of the studio. Gangster films inherently borrow the literary traditions in so doing they perpetuate the linguistic meaning of gangster hood.

Additionally, they establish syntactic ties that express sets of new contextual meaning. The difference between syntactic and semantic approaches corresponds with the variations between the primary elements in the makeup of linguistics and the secondary textual meanings that are constructed through the syntactic bonds that are developed through the primary elements. This difference is accentuated in the genre approach presented since they correspond to the modish theory of language and narrative relation.

Nonetheless, the distinction of semantic and syntactic approaches is vital to other film theories.

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