“Why Don’t You Go Down to Wall Street and Get Some Real Crooks?”: Capitalism and Masculinity in GoodFellas, Casino, and The Wolf of Wall Street

IF 0.1 3区艺术学 0 FILM, RADIO, TELEVISION

JOURNAL OF FILM AND VIDEO Pub Date : 2023-07-01 DOI:10.5406/19346018.75.2.04

Ciara Moloney

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Abstract

©2023 by the board of trustees of the university of illinois aCross twenty-three years, martin sCorsese directed three films—GoodFellas (1990), Casino (1995), and The Wolf of Wall Street (2013)—that employ similar narrative structures and stylistic devices to explore variations on the same themes: class aspiration, greed, and masculinity in twentieth-century America. Though not a trilogy in the formal sense, the films are discursively linked, with Casino mirroring and expanding on GoodFellas and with The Wolf of Wall Street likewise engaging with GoodFellas and Casino. With extensive voice-over and a pop soundtrack, each film presents a breakneck-paced rise and fall of a criminal, with huge gulfs in each character’s relative social status: in GoodFellas, Henry (Ray Liotta) is a low-level gangster; in Casino, Ace (Robert De Niro) is a professional gambler turned casino manager; in The Wolf of Wall Street, Jordan Belfort (Leonardo DiCaprio) runs his own stock brokerage firm. Each film is a period piece that uses historical crimes to create a time-displaced critique of the functioning of the contemporary economy. Each film also deals incisively with various forms of masculinity, particularly hypermasculinity, through the prisms of class, ethnicity, violence, and consumerism. “None of It Seemed Like Crimes”: GoodFellas

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“你为什么不去华尔街找一些真正的骗子？”：GoodFellas、Casino和华尔街之狼的资本主义和男子气概

©2023伊利诺伊大学董事会在23年的时间里，martin sCorsese执导了三部电影——《GoodFellas》（1990年）、《Casino》（1995年）和《华尔街之狼》（2013年）——它们采用了相似的叙事结构和风格手段来探索同一主题的变化：20世纪美国的阶级渴望、贪婪和男子气概。虽然不是正式意义上的三部曲，但这两部电影有着散漫的联系，《赌场》在《古德费拉斯》上进行了镜像和扩展，《华尔街之狼》也与《古德费拉斯》和《赌场》合作。每部电影都有大量的画外音和流行音乐配乐，呈现了一个罪犯的惊险兴衰，每个角色的相对社会地位都有巨大的鸿沟：在《GoodFellas》中，亨利（雷·利奥塔饰）是一个低级黑帮；在《赌场》中，艾斯（罗伯特·德尼罗饰）是一名职业赌徒，后来成为赌场经理；在《华尔街之狼》中，乔丹·贝尔福（莱昂纳多·迪卡普里奥饰）经营着自己的股票经纪公司。每部电影都是一部时代片，利用历史罪行对当代经济的运作进行了时间错位的批判。每部电影都通过阶级、种族、暴力和消费主义的棱镜，深刻地探讨了各种形式的男子气概，尤其是超男子气概。“这一切看起来都不像犯罪”：GoodFellas

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来源期刊

JOURNAL OF FILM AND VIDEO FILM, RADIO, TELEVISION-

CiteScore

0.30

自引率

0.00%

发文量

期刊介绍： The Journal of Film and Video, an internationally respected forum, focuses on scholarship in the fields of film and video production, history, theory, criticism, and aesthetics. Article features include film and related media, problems of education in these fields, and the function of film and video in society. The Journal does not ascribe to any specific method but expects articles to shed light on the views and teaching of the production and study of film and video.