From Library Journal
Beginning in the early 1930s, argues Lancaster University lecturer Munby, gangster films reflected the urban masses' discontent with the Horatio Algeresque conservatism of Depression-era America. By the end of this genre's heyday, in the early 1950s, the films mirrored the changing sociopolitical order adjusting to corporatism. Munby's wide-ranging overview is most useful in examining the genre's response to the Production Code, the Legion of Decency, and the House Un-American Activities Committee as these groups threatened to muzzle dissent on the silver screen. Recommended for all film collections as a companion to Eugene Rosow's Born To Lose: The Gangster Film in America (1978. o.p.).AAnthony J. Adam, Prairie View A&M Univ. Lib., Houston, TX
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About the Author
Jonathan Munby is senior lecturer in film studies and American studies at Lancaster University. He is the author of Public Enemies, Public Heroes: Screening the Gangster from 'Little Caesar' to 'Touch of Evil' also published by the University of Chicago Press.