The Repertoire of Elements

1. The Repertoire of Elements Gangster Genre

2. The Repertoire of Elements: • Iconography. • Characters. • Settings. • Ideological Approach. • Narrative Structure.

3. Iconography: Iconography is the images and symbolic representations that are traditionally associated with a genre. In this case the gangster genre. The physical tools in the gangster genre tends to be things such as: tommy guns, pinstripe suits, hats, cars with running boards, ostentatious displays of wealth (jewellery, flash cars, cigars, alcohol), loud music, money, offices, car parks, beautiful/sexy women, broad brimmed hats, pistols, machine guns and many more. Below are some images of a few of these:

4. Characters: The story of a film is most often told through characters. A film’s main protagonist or “hero” encounters a variety of obstacles which he must overcome within the story. These obstacles are usually caused by some kind of adversary or “villain”. Different genres become associated with different heroes and villains. Over time, these particular characters achieve the status of a “generic type”. Within the gangster genre, we often have the brutal gangster hero with loyal or overambitious henchmen, women as sexual ornaments, respectable mothers and sisters upholding traditional values. Film gangsters are usually materialistic, street-smart, immoral, meglo-maniacal, and self-destructive. Rivalry with other criminals in gangster warfare is often a significant plot characteristic. Crime plots also include questions such as how the criminal will be apprehended by police, private eyes, special agents or lawful authorities, or mysteries such as who stole the valued object. They rise to power with a tough cruel facade while showing an ambitious desire for success and recognition, but underneath they can express sensitivity and gentleness.

5. Settings: Many genres, particularly the Gangster genre, have a distinct location and time period associated with them. The use of temporal and spatial settings can therefore make a film immediately recognizable within this genre. Gangster/crime films are usually set in large, crowded cities, to provide a view of the secret world of the criminal: dark nightclubs or streets with lurid neon signs, fast cars, piles of cash, sleazy bars, contraband, seedy living quarters or rooming houses. Exotic locales for crimes often add an element of adventure and wealth. In other words, they tend to be set in the concrete jungle of the city.

6. Ideological Approach: The (usually) ethnic gangster rises from a poor working class environment to social prominence through illegal and brutal means, only to slide back into destitution or fall to authorities or to a rival gang through his arrest or violent death. Themes: • Rivalry, with other criminals in gangster warfare. Often regarding money, pride or loyalty. • Morality, as religion is used as a key aspect, usually used as dramatic irony or to highlight their lack of morals. • Betrayal, huge theme of giving up information to crime families or police. Can be to do with frustration or most commonly, will go to prison otherwise. • Fierce ambition, protagonist is usually full of desire, sometimes resulting in his death or attaining ultimate power. • Materialism, all focus on material aspects e.g. cars, represent ultimate fantasy of rags to riches. • Self destruction, obtain everything they desire but they become complacent and bored, leading to big downfall. • Evil, the protagonist can appears evil, clinical and sinister as death is portrayed as a business with no care or doubt. • Loyalty, undying loyalty between the mob, shown with how they consider them to be ‘family’ • Appearance vs. Reality, key binary opposition, of things being different to how they seem, often someone with different intentions e.g. want to become the boss

7. Narrative Structure: Narrative is the process of story telling. Narrative is sometimes referred to as the plot. The gangster narrative is supposedly a fixed structure, based on the 'rise and fall' of the gangster. Most gangster narratives follow the same recurring pattern: The gangster will elevate himself out of his working class slum through organised crime. He will quickly gain wealth, power and status through fear and intimidation. The gangster will inevitably fall as greed and discontent within his organisation will bring him down. Finally he will either be killed or arrested at the narrative ending. The gangster narrative tends to follow this familiar ‘rise and fall’ pattern, this is because a sense of morality and responsibility has to be shown by filmmakers and studio's and also because audiences gain predictable pleasures from knowing what's going to happen.

8. Narrative Theories: 1. Todorov’s theory Equilibrium – Disequilibrium or enigma - New equilibrium The linear structure which can be applied to simple narrative particularly children’s stories and action/fantasy films. 2. Levi- Strauss theory Binary Opposites – the idea that most narratives will feature a set of binary opposites in terms of themes and characters e.g. good vs. evil, urban vs. rural, hero vs. villain etc. 3. Propp's theory The spheres of action – the idea that narrative is purely character drive and that 8 main characters or spheres dictate the way a story is told: the hero, princess, villain, father etc.