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{"title":"“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","authors":"Ciara Moloney","doi":"10.5406/19346018.75.2.04","DOIUrl":null,"url":null,"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","PeriodicalId":43116,"journal":{"name":"JOURNAL OF FILM AND VIDEO","volume":"75 1","pages":"30 - 44"},"PeriodicalIF":0.1000,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"“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\",\"authors\":\"Ciara Moloney\",\"doi\":\"10.5406/19346018.75.2.04\",\"DOIUrl\":null,\"url\":null,\"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\",\"PeriodicalId\":43116,\"journal\":{\"name\":\"JOURNAL OF FILM AND VIDEO\",\"volume\":\"75 1\",\"pages\":\"30 - 44\"},\"PeriodicalIF\":0.1000,\"publicationDate\":\"2023-07-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"JOURNAL OF FILM AND VIDEO\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.5406/19346018.75.2.04\",\"RegionNum\":3,\"RegionCategory\":\"艺术学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"FILM, RADIO, TELEVISION\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"JOURNAL OF FILM AND VIDEO","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.5406/19346018.75.2.04","RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"FILM, RADIO, TELEVISION","Score":null,"Total":0}
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“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
©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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