{"title":"ACKNOWLEDGMENTS","authors":"","doi":"10.5406/j.ctv1f45rj9.3","DOIUrl":"https://doi.org/10.5406/j.ctv1f45rj9.3","url":null,"abstract":"","PeriodicalId":140368,"journal":{"name":"I Died a Million Times","volume":"36 3","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-01-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120875188","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"THE BIG CAPER","authors":"","doi":"10.5406/j.ctv1f45rj9.14","DOIUrl":"https://doi.org/10.5406/j.ctv1f45rj9.14","url":null,"abstract":"","PeriodicalId":140368,"journal":{"name":"I Died a Million Times","volume":"45 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-01-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126580038","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"CODA:","authors":"","doi":"10.5406/j.ctv1f45rj9.16","DOIUrl":"https://doi.org/10.5406/j.ctv1f45rj9.16","url":null,"abstract":"","PeriodicalId":140368,"journal":{"name":"I Died a Million Times","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-01-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124217967","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Odds against Tomorrow","authors":"Robert Miklitsch","doi":"10.5622/illinois/9780252043611.003.0010","DOIUrl":"https://doi.org/10.5622/illinois/9780252043611.003.0010","url":null,"abstract":"In Odds against Tomorrow (1959), the relation between crime thriller and social commentary in Robert Wise’s film can be said to turn the generic glove inside out so that the heist picture becomes a vehicle for social protest. Unlike The Defiant Ones (1957), in which the positive social message is compromised by its ultimately regressive take on the prison picture, the apocalyptic, seemingly nihilistic conclusion of Odds against Tomorrow represents a negative critique of both the heist and social-problem picture. From this dual point of view, Wise’s film may be said to be what Jonathan Munby calls a “civil rights noir,” an oxymoron that points to the limits of the classic social-problem film even as it points up the latent utopianism of the heist picture. Unlike the conclusion of The Asphalt Jungle, which looks backward to the nation’s agrarian past, the ending of Odds against Tomorrow evokes the lunar landscape and, by implication, the promise of the “new frontier”--of space travel and civil rights in the oppressive face of ignorance and prejudice.","PeriodicalId":140368,"journal":{"name":"I Died a Million Times","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121194590","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Touch of Evil","authors":"Robert Miklitsch","doi":"10.5622/illinois/9780252043611.003.0007","DOIUrl":"https://doi.org/10.5622/illinois/9780252043611.003.0007","url":null,"abstract":"If Touch of Evil (1958) touches on what the director, commenting on the film, calls the “abuse of police power,” this Orson Welles picture is especially pertinent in the context of the ’50s “bad cop” film, since despite the fact that it’s dominated by his performance as corrupt police captain Hank Quinlan, Touch of Evil is not customarily thought of as a rogue cop movie. Just as, say, Hitchcock’s Vertigo (1958) has transcended its generic status as a private-detective film, so too Touch of Evil--thanks to its extraordinary formal ingenuity and expressionist rhetoric as well as its investigation of the politics of race and sexuality, the law and the border--has long since transcended its origins in Whit Masterson’s pulp fiction, Badge of Evil (1956). Welles’s picture nevertheless remains a product of a particular cultural-historical moment in which it signifies, according to Jonathan Munby, the “end of the line” of gangster noir, as well as the “passing of two distinctive crime types”: “the femme fatale,” Tanya, and the “morally ambivalent rogue cop,” Hank Quinlan.","PeriodicalId":140368,"journal":{"name":"I Died a Million Times","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121464172","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Combination","authors":"Robert Miklitsch","doi":"10.5622/illinois/9780252043611.003.0002","DOIUrl":"https://doi.org/10.5622/illinois/9780252043611.003.0002","url":null,"abstract":"Unlike a seminal syndicate picture film such as The Enforcer (1950), which is set in New York City and is stylistically dark, Joseph Newman’s 711 Ocean Drive (1950) is a paradigmatic West Coast gangster noir, reveling in the golden light for which Southern California is famous. The film 711 Ocean Drive is only one in a series of ’50s crime pictures whose focus, whether deep or shallow, is on organized crime in the octopus-like guise of the syndicate. If other syndicate films such as The Captive City (1952) developed as a response to the Kefauver hearings, this development becomes, in time, a concern with wider issues. Thus, in The Big Combo (1955), the dynamic representation of female sexuality encompasses an equally dynamic depiction of homosexuality. More generally, if in The Big Combo Joseph Lewis uses the syndicate film to explore the political-libidinal unconscious of mid-century America, his film is less a vehicle for the sort of social critique of organized crime that informs 711 Ocean Drive and The Captive City than an exposé of the psychopathology of everyday life.","PeriodicalId":140368,"journal":{"name":"I Died a Million Times","volume":"90 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126553845","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Where the Sidewalk Ends","authors":"Robert Miklitsch","doi":"10.5622/illinois/9780252043611.003.0005","DOIUrl":"https://doi.org/10.5622/illinois/9780252043611.003.0005","url":null,"abstract":"If John Cromwell’s The Racket (1951) remains a representative transitional instance of the rogue cop film, the subgenre cannot be reduced, thematically speaking, either to vigilante violence or governmental corruption. For instance, in Otto Preminger’s prototypical rogue cop film, Where the Sidewalk Ends (1950), Mark Dixon’s encounter with criminal suspects is marked by physical violence and grim self-righteousness, although, not unlike Jim McLeod in an acknowledged model of the subgenre, Detective Story (1951), his crusading behavior derives less from some misguided notion of idealism than from the fact that his own father was a mobster. Moreover, even as Where the Sidewalk Ends radically reframes the antagonistic relation between the fugitive and cop, it situates the ultimately sympathetic figure of the policeman within the proletarian milieu of the metropolis and, in the process, reconfigures the limits of the rogue cop film.","PeriodicalId":140368,"journal":{"name":"I Died a Million Times","volume":"75 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129312269","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Phenix City Story","authors":"Robert Miklitsch","doi":"10.5622/illinois/9780252043611.003.0003","DOIUrl":"https://doi.org/10.5622/illinois/9780252043611.003.0003","url":null,"abstract":"In Phil Karlson’s The Brothers Rico (1955), Eddie Rico is a legitimate businessman who cannot extricate himself from the tentacles of the syndicate. Stylistically speaking, The Brothers Rico mirrors the emerging impact of television on the classic noir series registered most dramatically in Jack Arnold’s 3-D noir, The Glass Web (1953). However, if the camera setups in Karlson’s film appear more functional than not relative to ’40s classic noir, Bernard Guffey’s cinematography is inseparable from the film’s conceit: that organized crime is indistinguishable from corporate America. The South Floridian setting of The Brothers Rico is central to its sun-drenched, coruscating vision of late ’50s America. Unlike The Enforcer and The Captive City, which are set in the East and Midwest, respectively, Karlson’s film is set in the South, the West, and the Southwest. These sunbelt locations may seem antithetical to the inky-black look of classic noir, but the reason is as simple as it is profound: crime is not just here or there; it’s everywhere.","PeriodicalId":140368,"journal":{"name":"I Died a Million Times","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124406175","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Asphalt Jungle","authors":"Robert Miklitsch","doi":"10.5622/illinois/9780252043611.003.0008","DOIUrl":"https://doi.org/10.5622/illinois/9780252043611.003.0008","url":null,"abstract":"If the syndicate picture privileges the system while the rogue cop film valorizes the individual, the “big caper” movie represents something of a synthesis. On one hand, the heist picture reposits the gang not in the alienated form of the syndicate but of the family, a tightly knit team that’s reminiscent of the army unit in the “combat film.” The sympathetic presentation of the crew in The Asphalt Jungle (1950) is one of the semantic elements, together with the ethos of professionalism, that distinguishes the classic heist picture from its ’40s predecessors. On the other hand, if the gang in the classic heist film is split between the individual criminal’s desire and a crew that demands the subsumption of that same desire in the interests of the greater good, fragmentation in the form of individual desire inevitably reasserts itself. In this sense, the law of desire understood as fate is inscribed in the very idea of a “big score,” a fatality endorsed, if not mandated, by the Production Code Administration and eloquently demonstrated by the dénouement of The Asphalt Jungle.","PeriodicalId":140368,"journal":{"name":"I Died a Million Times","volume":"70 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122289943","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Thin Blue Line","authors":"Robert Miklitsch","doi":"10.5622/illinois/9780252043611.003.0006","DOIUrl":"https://doi.org/10.5622/illinois/9780252043611.003.0006","url":null,"abstract":"Despite the emphasis on the utter ubiquity of the underworld in the syndicate picture, one of the ironies of the subgenre is a certain “surplus of the law” in the chimerical shape of the organization. From this perspective, the rogue cop film constitutes a dialectical response to the totalitarian disposition of the syndicate picture. In a prototypical rogue cop film like Where the Sidewalk Ends, the problem represented by the syndicate is located in the protagonist’s unresolved relationship to his dead father, but in The Big Heat (1953) police detective Dave Bannion must defend the family and everything it represents--the ’50s suburban American Dream--against the violence-backed interests of the mob. If other working-class cops such as Chris Carmody in Rogue Cop (1954) are driven by sex, Webb Garwood in The Prowler (1951) and Barney Nolan in Shield for Murder (1954) are motivated by the desire for sex and money. In both The Prowler and Shield for Murder, the law of capital returns with the force of the repressed, and the bad cop becomes an especially perverted instance of possessive individualism.","PeriodicalId":140368,"journal":{"name":"I Died a Million Times","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126988878","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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