Bibliografias temáticas / Criminalité au cinéma

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Literatura científica selecionada sobre o tema "Criminalité au cinéma"

Autor: Grafiati
Publicado: 25 de julho de 2024
Última modificação: 31 de julho de 2025

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Artigos de revistas sobre o assunto "Criminalité au cinéma"

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Larchet, Keltoume, and Aurélien Langlade. "La criminalité féminine : un objet criminologique." Cahiers de la sécurité et de la justice N° 59, no. 3 (2024): 112–22. https://doi.org/10.3917/csj.059.0112.

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La violence féminine est couramment minimisée et euphémisée [Cardi, Pruvost, 2011]. Certains parlent même de « tabou social » [Pegina, 2011]. Pourtant, selon une perspective historique, « les femmes apparaissent aussi comme des actrices de la violence » [Roussel, 2011]. Lorsque des actes criminels commis par des femmes sont envisagés, c’est le plus souvent sur le registre de la personnification, à travers la mobilisation de figures spécifiques, entre mythification et diabolisation. Si cela est particulièrement notable dans le domaine artistique (littérature, cinéma), on l’observe également dan
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HARDWICK, JOE. "What We Do in the Shadows: The Representation of Cruising in Three French Films." Australian Journal of French Studies 61, no. 4 (2024): 357–70. https://doi.org/10.3828/ajfs.2024.31.

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Sexual cruising—a practice often associated with men who have sex with other men in public spaces—has been written about from a number of disciplinary perspectives, including literature, literary and cultural studies, queer theory, geography and sociology. However, its representation in cinema is restricted to a small number of films and rarely has cruising in cinema been a focus of critical attention in its own right. This article will look at the changing functions of cruising in French cinema from the 1980s to the 2010s with a particular focus on three films: Patrice Chereau’s L’Homme bless
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Bauman, Rebecca. "‘Now you are one of us’: Mafia fashion on-screen." Film, Fashion & Consumption 11, no. 2 (2022): 155–68. http://dx.doi.org/10.1386/ffc_00045_1.

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This article examines the role popular media have played in disseminating images of mafia fashion. Through the representation of criminal apparel on-screen spectators are encouraged to identify with the societal transgressions of the mafioso, engendering an abiding fascination with mafia style. By looking at Italian and Italian American productions from early silent cinema through contemporary television crime series, menswear becomes a primary means of harnessing spectatorial desire and identification that embraces enduring associations that link southern Italian identity with criminality and
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Mututa, Addamms Songe. "Reductionism and post-apartheid culture: A critique of building hijacking in Gangsters Paradise: Jerusalema." Journal of African Cinemas 15, no. 1 (2023): 37–55. http://dx.doi.org/10.1386/jac_00088_1.

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Incidences of residential building hijacking which characterize post-apartheid Johannesburg have drawn debates from diverse fields of scholarship: anthropological, legal, social, literary and even cinema. Do they instantiate outright criminality, incomplete adjustment into the city, strategies for socio-economic restitution or acts of inverse racism? This article, an interdisciplinary probe into the representation of building hijacking in Ralph Ziman’s Gangsters Paradise: Jerusalema (2008), uses reductionism philosophy to theorize the practice as an actuation of eccentric post-apartheid cultur
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Boyce, Benjamin. "Lessons from Shawshank: Outlaws, Lawmen and the Spectacle of Punishment." Humanities 12, no. 1 (2023): 10. http://dx.doi.org/10.3390/h12010010.

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For more than a century, cinema has offered a rich source of images and narratives about crime and punishment. Unfortunately, the restricted nature of correctional environments and the social stigma surrounding incarceration leave most viewers reliant on media representations for the majority of their knowledge about correctional spaces. In most media representations of crime and punishment, outlaws and lawmen are reduced to stereotypical archetypes, and incarcerated characters are some of the evilest villains one will ever encounter. Moreover, the prison environment is painted as a playground
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Robinson, Amy. "Chucho el Roto in Mexico’s Post-1968 Cinema: Banditry, State-Sponsored Violence, and the Alternative National Family." Mexican Studies/Estudios Mexicanos 30, no. 2 (2014): 446–78. http://dx.doi.org/10.1525/msem.2014.30.2.446.

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Legendary bandit Chucho el Roto was portrayed by renowned actor Manuel López Ochoa in a film series made and released in the wake of violent repression of Mexico’s student movement. The four films provide entertainment with their charismatic leading man, melodrama, romance and comedy. Yet, the series also allegorizes and critiques Dirty War tactics employed in Mexico by portraying how the powerful abuse their authority to criminalize, imprison, torture and murder young idealists with an alternative vision for society. The popular figure of the bandit thus constituted a timely vehicle for criti
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Bonjour, Mini Mark. "Thuggee and Sati Revisited." Artha - Journal of Social Sciences 15, no. 3 (2016): 21. http://dx.doi.org/10.12724/ajss.38.2.

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Films on Indian themes made by western filmmakers have often been ridden with stereotypes and clichés. The wave of Raj films that came out of British and American production companies in the years since India‟s independence have largely been nostalgia-driven, and they almost invariably end up exoticising the region. However, with regard to films made by the nonHollywood film company named Merchant-Ivory Productions, audiences had come to expect more sophisticated and nuanced treatments of themes drawn from Indian history. This paper examines one of their films, The Deceivers, which deals with
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Kuznetsova, Yulia A., and Nadezhda A. Kalmazova. "Representation of the concept 'thief' in the modern mass media." Verhnevolzhski Philological Bulletin 1, no. 24 (2021): 74–80. http://dx.doi.org/10.20323/2499-9679-2021-1-24-74-80.

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The main purpose of the article was to study the representation of the concept 'thief' in the language of Russian mass media. This concept is important for both national and scientific legal concept spheres. The appeal to journalistic texts is due to the fact that they quickly reflect the main characteristics of the current state of mass consciousness and manifest its key stereotypes. The analysis was carried out in accordance with the main task of the study: to identify the key features of the concept represented in the media. In the course of the study, information from the newspaper subcorp
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LEVET, Natacha. "Urban Space in Sorogoyen cinema: a Political Deframing of the Gaze." Les espaces urbains dans les fictions criminelles espagnoles : (dé)cadrer la ville à l’écran et en bande dessinée, no. 4 (January 5, 2024). http://dx.doi.org/10.25965/flamme.1202.

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La production de Rodrigo Sorogoyen investit l’espace urbain madrilène dans un cinéma de genre – le néo-noir espagnol – qui en fait non seulement un terrain d’exploration de la criminalité contemporaine mais aussi une métonymie des dysfonctionnements sociaux et politiques de l’Espagne. Le réalisateur use de la tension entre cadrages et décadrages pour déplacer l’attention du spectateur, et charger l’intrigue criminelle de ses films d’une analyse politique, les deux se rejoignant finalement dans le cadre urbain de la caméra. Trois films ou séries seront le support de cette étude : Que Dios nos p
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"The death penalty in American cinema: criminality and retribution in Hollywood film." Choice Reviews Online 52, no. 03 (2014): 52–1315. http://dx.doi.org/10.5860/choice.186086.

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Mais fontes

Teses / dissertações sobre o assunto "Criminalité au cinéma"

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Boni, Marta. "De l'intertextualité au transmédial : pratiques de réécriture autour de "Romanzo criminale"." Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030124/document.

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Tout en se présentant comme la relecture d’un fait divers de l’histoire italienne récente, Romanzo Criminale est un récit qui se déploie par le biais de différents médias : un livre, un film, une série télévisée, ainsi qu’un certain nombre de produits dérivés. On trouve également, dans les espaces en ligne Internet, des déclinaisons de ces produits générées par les utilisateurs eux-mêmes. Les pratiques de transformation ou de remix mises en œuvre par ces derniers, les hommages et autres parodies dilatent l’univers de départ en proposant des lectures alternatives au sein de communautés différen
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Carvalho, Luciana de [UNESP]. "Uma leitura de Cidade de Deus, de Paulo Lins." Universidade Estadual Paulista (UNESP), 2007. http://hdl.handle.net/11449/91606.

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Made available in DSpace on 2014-06-11T19:25:25Z (GMT). No. of bitstreams: 0 Previous issue date: 2007-03-26Bitstream added on 2014-06-13T20:47:41Z : No. of bitstreams: 1 carvalho_l_me_arafcl.pdf: 501785 bytes, checksum: 2377ea446136e5c7b74a44ed5235002a (MD5)<br>O trabalho consiste no estudo e análise do romance Cidade de Deus, de Paulo Lins, relançado em 2002. Tal análise tem como objetivo verificar como esse texto contemporâneo articula sua escrita, sua produção, a partir de uma expectativa de leitura do leitor contemporâneo. O estudo também busca observar os mecanismos discursivos e textu
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Carvalho, Luciana de. "Uma leitura de Cidade de Deus, de Paulo Lins /." Araraquara : [s.n.], 2007. http://hdl.handle.net/11449/91606.

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Orientador: Arnaldo Cortina<br>Banca: Maria Lúcia Outeiro Fernandes<br>Banca: Tieko Yamaguchi Miyazaki<br>Resumo: O trabalho consiste no estudo e análise do romance Cidade de Deus, de Paulo Lins, relançado em 2002. Tal análise tem como objetivo verificar como esse texto contemporâneo articula sua escrita, sua produção, a partir de uma expectativa de leitura do leitor contemporâneo. O estudo também busca observar os mecanismos discursivos e textuais presentes na constituição da obra em questão, sem deixar de considerar o contexto sóciohistórico em que o romance está inserido. Procura explorar a
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Melani, Tommaso. "La rappresentazione della 'mala' romana nel contesto della serialità televisiva italiana. Il caso Cattleya." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2022.

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Obiettivo di questo contributo sarà quello di considerare il caso di Cattleya, casa di produzione indipendente fondata nel 1997 da Riccardo Tozzi, per comprendere il ruolo della stessa all’interno dell’industria televisiva negli ultimi vent’anni, e di come questa abbia contribuito alla crescita del settore, anche in relazione ad una rivalutazione del prodotto originale italiano all’estero Si analizzerà, nello specifico, quel che riguarda due prodotti di Cattleya in particolare, entrambi legati al contesto della ‘mala’ romana: Romanzo Criminale – La Serie (Sky Cinema, 2008) e Suburra – La Ser
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Hamel, Louis-Philippe. "«Cool crime films» : tendance cool de la représentation de la criminalité dans le cinéma des années quatre-vingt-dix." Thèse, 2017. http://hdl.handle.net/1866/20169.

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Livros sobre o assunto "Criminalité au cinéma"

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Yi, Su-jŏng. Yi Su-jŏng Yi Ta-hye ŭi pŏmjoe yŏnghwa p'ŭrop'ail. Minŭmsa, 2020.

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2

Koslovsky-Golan, Yvonne. Death Penalty in American Cinema: Criminality and Retribution in Hollywood Film. I. B. Tauris & Company, Limited, 2014.

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Aristodemou, Maria, Fiona Macmillan, and Patricia Tuitt. Crime Fiction and the Law. Taylor & Francis Group, 2016.

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Aristodemou, Maria, Fiona Macmillan, and Patricia Tuitt. Crime Fiction and the Law. Taylor & Francis Group, 2016.

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Crime Fiction and the Law. Taylor & Francis Group, 2016.

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Green-Simms, Lindsey B. Queer African Cinemas. Duke University Press, 2022. http://dx.doi.org/10.1215/9781478022633.

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In Queer African Cinemas, Lindsey B. Green-Simms examines films produced by and about queer Africans in the first two decades of the twenty-first century in an environment of increasing antiqueer violence, efforts to criminalize homosexuality, and other state-sanctioned homophobia. Green-Simms argues that these films not only record the fear, anxiety, and vulnerability many queer Africans experience; they highlight how queer African cinematic practices contribute to imagining new hopes and possibilities. Examining globally circulating international art films as well as popular melodramas made
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Lehnen, Jeremy. Neo-Authoritarian Masculinity in Brazilian Crime Film. University Press of Florida, 2022. http://dx.doi.org/10.5744/florida/9781683402541.001.0001.

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An incisive analysis of contemporary crime film in Brazil, this book focuses on how movies in this genre represent masculinity and how their messages connect to twenty-first-century sociopolitical issues. Jeremy Lehnen argues that these films promote an agenda in support of the nation’s recent swing toward authoritarianism that culminated in the 2018 election of far-right president Jair Bolsonaro. Lehnen examines the integral role of masculinity in several archetypal crime films, most of which foreground urban violence, including Cidade de Deus, Quase Dois Irmãos, Tropa de Elite, O Homem do An
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Tsika, Noah. Screening the Police. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197577721.001.0001.

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American police departments have presided over the business of motion pictures since the end of the nineteenth century. Their influence is evident not only on the screen but also in the ways movies are made, promoted, and viewed in the United States. Screening the Police explores the history of film’s entwinement with law enforcement, showing the role that state power has played in the creation and expansion of a popular medium. For the New Jersey State Police in the 1930s, film offered a method of visualizing criminality and of circulating urgent information about escaped convicts. For the Ne
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Capítulos de livros sobre o assunto "Criminalité au cinéma"

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Weiser, Frans. "Performing Criminality: Immigration and Integration in Foreign Land and Fado Blues." In Migration in Lusophone Cinema. Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137408921_6.

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Cairns, Lucille. "Bad Girls: Criminality." In Sapphism on ScreenLesbian Desire in French and Francophone Cinema. Edinburgh University Press, 2006. http://dx.doi.org/10.3366/edinburgh/9780748621651.003.0002.

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Hext, Kate. "Oscar Wilde, Hollywood Rebel." In Wilde in the Dream Factory. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/9780191987335.003.0008.

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Abstract This brief conclusion draws together the main points that the book makes on (1) how Wilde shaped Hollywood cinema (and the limitation of our understanding of this) and (2) how seeing Wilde through Hollywood can reshape how we read him. In the first case it discusses how Wilde and the ‘Wilde-ish’ helped to define the aesthetics of American cinema up to the early 1950s. In the second, it suggests that film-makers were able to make his works and, in consequence, Wilde himself the figure that they wanted him to be and so this Conclusion discusses how their version of Wilde can shift our p
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Phillis, Philip E., and Philip E. Phillis. "Neither ‘Good’ nor ‘Bad’: Reinventing Albanian Identities in Eduart and Mirupafshim." In Greek Cinema and Migration, 1991-2016. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474437035.003.0005.

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Taking Eduart as its departure point, this chapter looks into discourses of criminality and exclusion that targeted almost exclusively Albanian immigrants in the early 1990s and 2000s. The chapter thus addresses the historical rivalry between Greece and Albania which underlies Albanian-targeted racism. Alongside Eduart, Mirupafshim is also included for an original evocation of Albanian identities as indeed both films move beyond clichés of either ‘bad’ (illegal immigrants and presumably criminals) or ‘good’ Albanians (submissive victims of racist violence) which featured strongly in the media.
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Moss, Eloise. "Introduction." In Night Raiders. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198840381.003.0010.

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Until 1968, burglary was defined both legally and culturally as an extraordinary form of theft occurring between the ‘night-time’ hours of nine p.m. and six a.m., entwining the crime with visions of a shadowy, nightmarish nocturnal cityscape. Juxtaposing the horror of victims with the glamorous, sexy breed of ‘gentleman’ burglar gracing international cinema screens in phenomenally successful films such as Raffles (1939), the Introduction explores the vastly contradictory responses to the crime during the period 1860 and 1968. Encompassing not only fear-mongering accounts of the crime, but also
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Moss, Eloise. "A. J. Raffles." In Night Raiders. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198840381.003.0002.

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Arthur J. Raffles, fictional ‘cracksman’ by night and England cricketing star by day, burst onto the literary scene in 1898. Created by Ernest William Hornung, brother-in-law of Sherlock Holmes’ author Sir Arthur Conan Doyle, Raffles was Holmes’ antithesis: the fun-loving master thief. Embodying the ‘pleasure culture’ surrounding the burglar, Raffles’ physical attractiveness and athleticism blurred the lines between moral virtue and romantic allure. As the original novels were continually remade in theatre and film and their characters reincarnated in those media, newspapers began to label rea
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