Screening the PolicePub Date : 2021-09-23DOI: 10.1093/oso/9780197577721.003.0008
Noah Tsika
{"title":"Coda","authors":"Noah Tsika","doi":"10.1093/oso/9780197577721.003.0008","DOIUrl":"https://doi.org/10.1093/oso/9780197577721.003.0008","url":null,"abstract":"Interrogating the entwinement of Hollywood and law enforcement means reconsidering standard definitions of the corporate media system. Scholars continue to view that system—typified, in conventional accounts, by the Hollywood studios—as largely independent of state power. Police participation—broadly defined—has always saved the industry money, with state and municipal agencies funneling their own resources into principal photography, postproduction, and promotion. Tie-ups between police departments and film companies, which are constant rather than occasional—standard rather than exceptional—thus illustrate the rarely acknowledged reality that Hollywood is, in fact, publicly subsidized. Tax credits tempt filmmakers to far-flung locations where law enforcement agencies do their part to keep production costs down, sustaining Hollywood by public subsidy—a sort of “socialism for the rich.” Put simply, the police labor that is so frequently subsumed under Foucauldian abstractions has long been a key factor in the public funding of Hollywood.","PeriodicalId":319548,"journal":{"name":"Screening the Police","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-09-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129170544","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}
Screening the PolicePub Date : 2021-09-23DOI: 10.1093/oso/9780197577721.003.0003
Noah Tsika
{"title":"Cinematic Badges","authors":"Noah Tsika","doi":"10.1093/oso/9780197577721.003.0003","DOIUrl":"https://doi.org/10.1093/oso/9780197577721.003.0003","url":null,"abstract":"This chapter examines some of the tensions involved in the development and maintenance of film-specific forms of police public relations and addresses the persistence of certain cultural and institutional anxieties. From the threat of repetition and generic stagnation to the frictions resulting from the coexistence of strict representational codes and countervailing “realist” imperatives, these tensions and anxieties further illustrate the sheer complexity of cinema’s intersections with police power in the United States. American police departments have long been committed to shaping American film culture to their own advantage. American police officials were not necessarily easily satisfied by screen representations, and their ongoing demands had unexpected and sometimes contradictory effects.","PeriodicalId":319548,"journal":{"name":"Screening the Police","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-09-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122290466","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}
Screening the PolicePub Date : 2021-09-23DOI: 10.1093/oso/9780197577721.003.0005
Noah Tsika
{"title":"Ballistics, Bertillonage, and Ballyhoo","authors":"Noah Tsika","doi":"10.1093/oso/9780197577721.003.0005","DOIUrl":"https://doi.org/10.1093/oso/9780197577721.003.0005","url":null,"abstract":"This chapter considers some key intersections between cinema and criminal science, centering on a little-known case study: so-called suspect films—observational shorts produced initially by the New Jersey State Police and an assortment of municipal counterparts and later by private companies like RCA, Universal, and General Electric. As this case study reveals, cinema’s utility as a tool of policing was far from simple or self-evident. It had to be carefully constructed, aggressively promoted, and rendered profitable in a political economy in which the line between public service and private profit was rarely very distinct.","PeriodicalId":319548,"journal":{"name":"Screening the Police","volume":"59 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-09-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129239658","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}
Screening the PolicePub Date : 2021-09-23DOI: 10.1093/oso/9780197577721.003.0006
Noah Tsika
{"title":"Filmgoers’ Fingerprints","authors":"Noah Tsika","doi":"10.1093/oso/9780197577721.003.0006","DOIUrl":"https://doi.org/10.1093/oso/9780197577721.003.0006","url":null,"abstract":"This chapter focuses on fingerprinting stations, which, from the early 1920s until the late 1950s, were often located in the lobbies of movie theaters and used both in conjunction with crime films and as part of a broader push to collect Americans’ personal biometric information. An increasingly popular component of efforts to normalize civil identification, fingerprinting stations routinely functioned to promote both crime films and local police departments. They also raised alarming questions about the scope of police power in the United States. Fingerprinting stations were naturalized aspects of a cinematic assemblage that served police power, smuggling law enforcement into the local movie theater and making the collection of patrons’ personal biometric information seem continuous both with screen representations and with the wider work of advertising and publicity departments.","PeriodicalId":319548,"journal":{"name":"Screening the Police","volume":"56 2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-09-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133466605","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":"Veto Power","authors":"Noah Tsika","doi":"10.4135/9781483300658.n390","DOIUrl":"https://doi.org/10.4135/9781483300658.n390","url":null,"abstract":"Throughout the first half of the twentieth century, police censorship of motion pictures was a significant and always controversial index of the expansion of law enforcement agencies to include activities that many Americans deemed unbecoming of cops. As such, it offers considerable insight into contemporary debates over the scope of police power in the United States. Today’s arguments have deep roots, including in a practice that was far more prevalent—and far more contentious—than conventional histories allow. When it came to vetting motion pictures, the methods of municipal police departments varied widely. But they often illuminated broader problems: Detroit police officers who voted to ban anti-Nazi films were themselves outspoken white supremacists; Chicago cops who balked at cinema’s suggestions of eroticism were also, outside of departmental screening rooms, aggressively targeting sex workers; and Southern lawmen who sought to eliminate intimations of racial equality were known for their brutal treatment of Black residents. Police censorship of motion pictures took place not in a vacuum but within the ever-widening ambit of law enforcement, and it merits scrutiny as a measure of the authority, influence, and cultural identities of municipal cops.","PeriodicalId":319548,"journal":{"name":"Screening the Police","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-09-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126345805","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}
Screening the PolicePub Date : 2021-09-23DOI: 10.1093/oso/9780197577721.003.0007
Noah Tsika
{"title":"From Kiddie Cops to the Coal Police","authors":"Noah Tsika","doi":"10.1093/oso/9780197577721.003.0007","DOIUrl":"https://doi.org/10.1093/oso/9780197577721.003.0007","url":null,"abstract":"In the United States, the normalization of police power has often demanded the delineation of fraudulent or otherwise illegitimate aspirants to such power. This chapter considers cinematic depictions of parapolicing. Such representations speak to ongoing anxieties surrounding the actual, discernable contours of police power in the United States. In Hollywood, the Studio Relations Committee was particularly wary of analogies between “real” police officers and their privately employed counterparts. The films examined in this chapter address the complexities of those public-private partnerships that pivot around law enforcement. Ultimately, these films work to affirm the state’s monopoly on lawful violence, either because it is the state itself that “generously” grants power to particular private actors or because those private actors fail miserably and, in so doing, necessitate the expansion of “real” police forces. Such films complicate, in markedly populist terms, the professional police’s presumed monopoly on expertise, without, however, questioning the police’s monopoly on violence. The films at the center of this chapter are meant to show that while policing may be teachable—imitable—actual law enforcement officials hold the real power.","PeriodicalId":319548,"journal":{"name":"Screening the Police","volume":"225 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-09-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127527112","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}
Screening the PolicePub Date : 2021-09-23DOI: 10.1093/oso/9780197577721.003.0002
Noah Tsika
{"title":"Cinema’s Municipalities","authors":"Noah Tsika","doi":"10.1093/oso/9780197577721.003.0002","DOIUrl":"https://doi.org/10.1093/oso/9780197577721.003.0002","url":null,"abstract":"This chapter considers the growing sophistication of collaborations between Hollywood and particular police forces during cinema’s first decades, showing how the locations of the emerging film industry—municipalities like New York, Chicago, and Los Angeles—decisively shaped that industry’s relationship to law enforcement. Representing a deliberate departure from the one- and two-reel films that had lampooned the police through slapstick and other farcical gestures, certain feature films also augured industrial trends that would run far deeper than onscreen depictions, involving law enforcement officials as more than just objects of narrative fascination. The national promotion of such films illustrates more than just the emergence of standardized, studio-dictated distribution and exhibition policies. It also indicates the coalescence of a national model of law enforcement that, like the strategies of circulation and ballyhoo determined at a studio’s corporate headquarters, experienced at least some degree of alteration at the local level, where municipal police departments, neighborhood cinemas, and other small businesses shaped, in idiosyncratic and often unpredictable ways, both professional methods and popular reception practices.","PeriodicalId":319548,"journal":{"name":"Screening the Police","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-09-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125189058","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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