Carl Freedman – författare

No society is without crime, prompting Nathaniel Hawthorne’s narrator to make his famous statement in The Scarlet Letter that, however high its hopes are, no civilization can fail to allot a portion of its soil as the site of a prison. By establishing the category of crime – by drawing a line between the lawful and criminal, however thin, blurry or even effectively meaningless the line may in practice become – society offers its own perhaps most consequential self-definition. Film, argues Carl Freedman, is an especially fruitful medium for considering questions like these. With Versions of Hollywood Crime Cinema, he offers a series of critical readings spanning several genres, by directors Coppola, Scorsese, Ford and Wilder. From among the mob movies, Freedman focuses on Francis Ford Coppola’s Godfather trilogy – arguably the foremost work of crime cinema – using it to reflect on the Marxist notion of primitive accumulation and relationship between ''gangsterism and capitalism''. The volume also includes in-depth critique of classics of film noir (including Double Indemnity and Body Heat) and, surprisingly, Western, which is not often thought of as a kind of crime film even though its setting is an entire society in which crime flourishes yet is fought against, bringing into focus films of John Wayne. For crime fans and scholars alike, the radical readings of known classics in Versions of Hollywood Crime Cinema provide an insightful critique of modern culture and high capitalism that produced, and that are reflected in, the range of films discussed.

No society is without crime, prompting Nathaniel Hawthorne’s narrator to make his famous statement in The Scarlet Letter that, however high its hopes are, no civilization can fail to allot a portion of its soil as the site of a prison. By establishing the category of crime – by drawing a line between the lawful and criminal, however thin, blurry or even effectively meaningless the line may in practice become – society offers its own perhaps most consequential self-definition. Film, argues Carl Freedman, is an especially fruitful medium for considering questions like these. With Versions of Hollywood Crime Cinema, he offers a series of critical readings spanning several genres, by directors Coppola, Scorsese, Ford and Wilder. From among the mob movies, Freedman focuses on Francis Ford Coppola’s Godfather trilogy – arguably the foremost work of crime cinema – using it to reflect on the Marxist notion of primitive accumulation and relationship between ''gangsterism and capitalism''. The volume also includes in-depth critique of classics of film noir (including Double Indemnity and Body Heat) and, surprisingly, Western, which is not often thought of as a kind of crime film even though its setting is an entire society in which crime flourishes yet is fought against, bringing into focus films of John Wayne. For crime fans and scholars alike, the radical readings of known classics in Versions of Hollywood Crime Cinema provide an insightful critique of modern culture and high capitalism that produced, and that are reflected in, the range of films discussed.

Perhaps no current filmmaker has made more provocative films about American history than Oliver Stone. In this book, Carl Freedman gives a detailed and nuanced account of the presidencies of John F. Kennedy, Richard Nixon and George W. Bush as fictionalized in Stone’s biographical films JFK, Nixon and W.

Offering detailed historical perspectives alongside careful aesthetic criticism, Freedman explores how Stone uses melodrama, tragedy and farce to transform politics into national mythology. Synthesizing film criticism with political and historical analysis, the book transcends the limitations of formalism and empiricism, reflecting on both Stone’s achievements as a filmmaker and American politics of the past sixty years. 

Oliver Stone’s importance among filmmakers as the major chronicler of recent US history is the starting point for the analysis of his three ‘presidential’ films: JFK, Nixon and W. While not claiming equal artistic merit for Stone’s films, Freedman makes some comparison with Shakespeare’s history plays and draws on T.S. Eliot’s notion of ‘essential history’ to transcend the barren dichotomy of formalism versus empiricism – that is treating historical fiction as either only pure fiction, with nothing to say about real history, or judging it as non-fiction by the extent to which it adheres to superficial historical detail. Instead the focus is on the capacity of Stone’s films to illuminate the structural workings of history, contemporary and general.

Freedman is thoroughly familiar with his subject, and his meticulous attention to historical accuracy and critical attention to the films is impeccable. This book has a powerfully original focus and makes a significant contribution to the field through offering these detailed historical perspectives alongside much more careful aesthetic criticism of the films. It has the potential to become not only a great source on its subject, but a model of how to approach historical fiction in general.

This is an academic study but is written in such an accessible style that it will have genuine appeal to the general reader – to anyone with an interest in cinema, politics and recent history. Wide-ranging, accessible and highly original, American Presidents combines erudition and complex analysis with jargon-free writing and is sure to engage anyone interested in the intersection of American politics and cinema.

The academic readership will be among humanities scholars and students of film, popular culture, media, politics, political history and modern history. It will be highly relevant to undergraduate and postgraduate students studying film or modern American history and culture.

Perhaps no current filmmaker has made more provocative films about American history than Oliver Stone. In this book, Carl Freedman gives a detailed and nuanced account of the presidencies of John F. Kennedy, Richard Nixon and George W. Bush as fictionalized in Stone’s biographical films JFK, Nixon and W.

Offering detailed historical perspectives alongside careful aesthetic criticism, Freedman explores how Stone uses melodrama, tragedy and farce to transform politics into national mythology. Synthesizing film criticism with political and historical analysis, the book transcends the limitations of formalism and empiricism, reflecting on both Stone’s achievements as a filmmaker and American politics of the past sixty years. 

Oliver Stone’s importance among filmmakers as the major chronicler of recent US history is the starting point for the analysis of his three ‘presidential’ films: JFK, Nixon and W. While not claiming equal artistic merit for Stone’s films, Freedman makes some comparison with Shakespeare’s history plays and draws on T.S. Eliot’s notion of ‘essential history’ to transcend the barren dichotomy of formalism versus empiricism – that is treating historical fiction as either only pure fiction, with nothing to say about real history, or judging it as non-fiction by the extent to which it adheres to superficial historical detail. Instead the focus is on the capacity of Stone’s films to illuminate the structural workings of history, contemporary and general.

Freedman is thoroughly familiar with his subject, and his meticulous attention to historical accuracy and critical attention to the films is impeccable. This book has a powerfully original focus and makes a significant contribution to the field through offering these detailed historical perspectives alongside much more careful aesthetic criticism of the films. It has the potential to become not only a great source on its subject, but a model of how to approach historical fiction in general.

This is an academic study but is written in such an accessible style that it will have genuine appeal to the general reader – to anyone with an interest in cinema, politics and recent history. Wide-ranging, accessible and highly original, American Presidents combines erudition and complex analysis with jargon-free writing and is sure to engage anyone interested in the intersection of American politics and cinema.

The academic readership will be among humanities scholars and students of film, popular culture, media, politics, political history and modern history. It will be highly relevant to undergraduate and postgraduate students studying film or modern American history and culture.