Capturing The Gangster

In Policing Gangs in America, Charles Katz and Vincent Webb describes every issue in American Gangs today. The ultimate goal of this book is how the gang officers work and the different kind of atmosphere they work in. Their job isn’t like other law enforcement jobs. It’s one of the more dangerous occupation in the Criminal Justice system. These gang officers focus on how they react to public gang issues.

Sparking the target audience’s curiosity helps to achieve the purpose of the film, because once the audience’s interest becomes sparked they will be more inclined to listen and pay attention to the rest of the movie, since they will be intrigued to know the end result of what actually happened to John and Clarence Anglin. Curiosity is created in this documentary in both visual, and audio elements. Visually, the movement, angle, and lighting of the camera were immensely important. Most of the beginning portion was filmed from a low angle, so the audience felt as though they were looking up at the people and the scenery, which created a mood of authority, and caused the audience to become curious as to what these people knew, and made them want to pay attention to what they had to say. Also the camera was always moving during this portion of filming, which made the events seem very fast paced and intense, like the audience was in on a secret that nobody was allowed to know. Furthermore, the lighting of the scenery always had shadows in the background, if not completely dim, to create a mysterious and unknowing scenery. The audio also helped in creating a lurky mood, since the background music was always fast paced and intense, with low bass notes frequently occurring, to create the feeling as though you were in a horror movie, which makes the audience even more curious. These elements combined together made the audience both visually and auditorily

“The Imposter” made in 2012, is a film tale that follows the chronicles of Frederic Bourdin, a con artist, who managed to trick an unsuspecting family into believing he was a long lost relative. Bart Layton directed this documentary and uses unconventional techniques to unravel this complicated, unbelievable story.

Fannie, and J. Joseph Gotti gave life to a baby boy on October 27, in 1940, but who knew that on that day a new crime boss would be born? John Gotti, a native of the South Bronx, New York, would grow up in a life of crime. John Gotti became head of the Gambino family.

Along with background music, sound effects play more of a role on the way we feel than many moviegoers think, and "although the function of sound effects is primarily atmospheric, they can also be precise sources of meaning in film" (Giannetti, 225). When the

The third chapter continues as Beli is at the bar and goes out of control in dancing before a man named “The Gangster” comes. Narrator tells us this man will steal Belis heart. At their first interaction, Beli gets mad and leaves but the following days she cannot stop thinking about him. Beli and her friend go back to the club where Beli dances with the man.

The one the ten year old chooses is to be with a gang because he says I give up because both my parents died and he just does not care anymore .So he ends up on the streets with no food or money. Then he gets a little visitor the police and the officer asked him where are you currently living at and he said um I don’t have a home because both my parents died. And then the officer asked if he would like to go to a group home he said sure and when he went to the group home there was eighty five kids there. He quickley became friends with a kid named Mario. Mario was eight years old and has been in the group home for two years he had the same thing happen to him both of his parents died too. So when he became old enough to live on his own

“The Gangster We Are All Looking For”, by Le Thi Diem THuy is a narrative that gives us a peek into the life of a Vietnamese family trying to adapt to the United States of America. Through the perspective of our unnamed female protagonist, we see what it is like growing up in a brand new country and the struggles she faced along with her parents, Ma and Ba. One of her parents, Ba, goes through living in the US with a lot of baggage in his past weighing him down, a conflict just as difficult, if not more than in juxtaposition to our protagonist's journey to growing up. Ba’s relationship to the past contributes to the work’s meaning as a while by being a main fuel source of conflict and showing that no matter how strong you were, things can still hurt you, a central theme of the book.

Directed by the legendary director Martin Scorsese, along with splendid performances of the duo Leonardo DiCaprio and Daniel Day - Lewis, Gangs of New York is an excellent film illustrated the chaotic peril of 1860s New York City based on actual historical events. Build upon the nonfiction novel by Herbert Asbury, The Gangs of New York: An Informal History of the Underworld, the movie depicted the conflict between the Americans and the Irish immigrants due to the rising wave of immigration to America. Although the movie is overall very intriguing, and gave an in-depth insight into the modern gang of New York City in the 19th century, it omits certain events in history for the purpose of entertainment.

“American Gangster” is based on the true story of Frank Lucas’ life. It is the story of how he cut out the middleman in the heroin business and the story of how Ritchie Roberts caught him. Throughout the film we see the parallel between a cop and a criminal as we inch forward to see their lives finally meet.

What are the aims and intentions of the director of the film and how have these been achieved? Bart Layton is the director of the documentary, The Imposter, a story of a 23-year-old man, Frederic Bourdin, who pretends to be a missing child, Nicholas Barclay, who at the time would have been 15. Bart Layton intends to illustrate the amazing story of Frederic Bourdin. He achieves this by manipulating the audience and challenging our perception of truth. Bourdin is the first person in the thriller/documentary hybrid to tell his story.

Another aspect of sound in this film was how it affected the story. By using sound dramatically in certain parts and not using it at all in other parts, sound gave this story an entity of its own. For example, during long stretches of film with mostly dialogue, there was no music played in the background, only a phone ringing in the distance, or the men's voices during their deliberation. These long silences also took place during editing shots of the town and images that surrounded this German city. This dramatic difference in sound was a revelation of how mood can be made by images and sound put together to make an incredible component.

Martin Scorsese in his 2010 film Shutter Island and Bart Layton in his 2012 documentary The Imposter incorporate conventions of the genre, film and documentary techniques, stylistic features such as narrative perspective, characterisation and camera angles to explore how people’s perception of identity and the truth can be manipulated. Both texts entail a similar chronological narrative structure although in different forms, for example, Shutter Island uses dreams and flashbacks, comparatively, The Imposter uses reenactments to show the viewers events that have already happened. Shutter Island shares the story of a man shrewdly manipulated to protect him from the truth, while The Imposter investigates the way truth can be manipulated and

I have to agree with your summary and facts about the largest gangster group in today's world. your information and summary that you provide is very useful which open connection that would be unthinkable in any other society. In addition, they are also legal triad under the Japanese's government law. i personally believe that Yakuza makes quite an impressive analysis on the birth of the Yakuza as an organization. also I believe that the Japanese organized crime has for centuries been linked not only to the financial powers as well as toy the political ones as

As previously mentioned, the film opens with white noise: there is the rattling of air vents, vague sounds of cars on the streets outside—but within the building no one is creating noise, that is until the musician enters via the revolving doors. The effect is somewhat unsettling. The sounds of the door mechanism and his footsteps become most prominent, layered above everything else. The economic use of sound makes the hurling of the violin and the musician's scream all the more potent because they contrast so heavily with the previous soundscape. Once the musician begins to play, his music becomes most prominent, serving as the film's soundtrack and creating a distinct tone shift—the musician's turmoil is momentarily placated by the sound of his music. The most striking shots and sound mixing occur when the musician's bow saws through his own instrument—the viewer is given a shot from within the violin, the quality of the sound becoming more echoed and muffled from within the