Chiranjiv Singh WASAN 003258-164 Rationale: In the early 1970's the Gangster genre witnessed a revival of influential films.

In this documentary, I will be taking a theoretical focus by exploring the generic conventions of the genre through comparisons of the Yakuza (Japanese) and Hollywood Gangster (American) films. In addition, I will be looking at the portrayal of the gangster mainly through mise en scene analysis. Furthermore, I will be investigating the idea of glorifying the gangster as a means to present anti-hero protagonists. Lastly, I will be examining how the themes of honour, family and violence are depicted in the films. (96 words)

Chiranjiv Singh WASAN 003258-164 Video In a darkly lit room, a clip from Public Enemies is played on a large screen. In the clip, John Dillinger is being chased and gunned down by federal agents. Slow motion and intercutting (between Dillinger and the agents) is used to create tension and reveal the chaos as the agents try to shoot Dillinger. The clip is paused as the audience sees the agent point his gun towards Dillinger. This creates enigma, as the audience doesnt know what happens to Dillinger at the end of the film. After a few seconds, the lighting in the room brightens slightly, similar to a cinema hall. However, low-key lighting is used to maximize shadows and create a chiaroscuro effect. This is done to hint at it being a technique of the Gangster genre. The narrator enters the foreground of the long shot, with the paused clip being the background of the shot. The narrator slowly walks, head down (creating enigma), towards a bright light to the left of the shot. He stands where the light is greatest, following the principle of the rule of thirds (thus grabbing the audiences attention). Medium shot of the narrator. As he speaks, he looks back and points to the screen. Cut to medium shot from alternate angle of the narrator. Cut to close up of narrator with direct mode of address. Cut to long shot of narrator with the screen (in the background) included in the framing. As the narrator speaks, the screen in the background starts to rewind (to older Gangster films) at a gradual pace. As the duration continues, the rewind speed gets faster. The narrator exits to the left and the light dims as he leaves. The camera zooms in fitting the full Audio The diegetic and non-diegetic sounds synchronized to the clip are played. As the chaos continues and Dillinger realizes hes being gunned down, the soundtrack heightens and quickens, becoming more dramatic and enigmatic. There is an absence (MOS) of diegetic sound from the darkly lit room. At the point where the clip is paused, the diegetic and non-diegetic sounds decay before diminishing to silence. Then, there is a short silence, which creates a tense atmosphere serving to engage the audience. Diegetic reflected sounds of switches and lights to engage the audience and create a sense of realism (convention of a documentary film). Though, there is an absence of non-diegetic sound to juxtapose the diegetic reflected sounds, creating a tense atmosphere. Diegetic reflected sound of the narrators footsteps, hinting he is walking into the shot. Simultaneously, the narrator whistles the tune Shoji Yamanaka whistles after he commits murders in Battles Without Honor and Humanity: Hiroshima Deathmatch (intertextual reference). The whistling stops as the narrator approaches his position. Narrator: This is a modern day gangster film But Lets rewind, shall we? Narrator: Lets look back back at one of the GREAT (capitalized to show narrators emphasis) revivals of the Gangster genre. Simultaneously, there is hyperrealistic diegetic sound of the films in rewind. There is diegetic sound of the narrators footsteps and whistling. The diegetic sound of the films in 1

Chiranjiv Singh WASAN 003258-164 screen in the framing of the shot and excluding everything else. The rewind shows prominent Gangster films in descending order of date. The rewind speed slows down when the films reach 1974 & 1973, hinting at the revival period. Gold titling is used to mark the 4 films that the documentary is focusing on. The narrator enters the long shot from the left as the screen in the background is paused on the title shot of The Godfather (1973). Fade through black to an image of cover page of the Hays Code. Cut to the iconic image of Don Vito sitting in his chair in The Godfather. Cut to a talking head shot of the narrator. Fade through black to a movie poster image of The Brotherhood (d. Martin Ritt, 1968). A clip from The Musketeers of Pig Alley (d. D.W. Griffith, 1912), the first short Gangster film, is played on the screen in the background. Continuous shot from Public Enemies, where Dillinger is shot. Cut to shot movie poster of American Gangster (2007). Cut to season 1 poster of Boardwalk Empire (2010) Cut away to the opening/ intro title sequence of The Sopranos, where we are taken through a journey showing the landscape and setting of New Jersey from Tony Sopranos (the main protagonist of the show) perspective (through his car). Talking head shot of the narrator in a darkly lit room/area. Cut away shot to opening scene in The Godfather, where Don Vito is rewind heightens, overpowering the footsteps and whistling. The diegetic sound of the rewind heightens and becomes more hyperrealistic, hinting at the period of revival and the focus of the documentary to the audience. For the films with titling, there is a nondiegetic voiceover (who the audience assume is the narrator) announcing the titles of the films. Narrator: This is where the Gangster genre witnessed a revivalfrom a CRITICAL, RECEPTIVE and prominently an INSTITUTIONAL viewpoint The Hays Code formed in 1930 served to ban films that breeched morality And portrayed crime or criminals in any positive way Thus, directors didnt touch the Gangster genre BUTin 1968, when the code was abandoned, the genre was REVIVED: many gangster films were made shortly after Of course, older films started and created the genre, but it was the 1970s period where the genre was made POPULAR, SUCCESSFUL and more MAINSTREAM! Narrator: The 1970s films act as framework for modern day Gangster films Many modern films And TV shows were inspired by the films of the 70s. The non-diegetic soundtrack from The Sopranos intro is played in the background as the narrator speaks (like a sound loop). Narrator: A prime example of this is the HBO hit TV show, The Sopranos, which was heavily influenced by The Godfather films. Narrator: This documentary will EXCLUSIVELY focus on Gangster films of THE 1970s REVIVAL period Films like The Godfather

Chiranjiv Singh WASAN 003258-164 hearing requests. Cut away to talking head shot of Gary Arnold. Gold titling (connoting importance) in the lower 3rd of the frame indicating the speaker and his role. Cut away shot to scene in The Godfather II, where Michael is talking to the senator (creates juxtaposition with clip shown when introducing The Godfather). Cut away shot to early scene in Battles Without Honor and Humanity, where Boss Yamamori confronts Shozo about his actions. Cut away shot to scene in Battles Without Honour and Humanity: Hiroshima Deathmatch, where Boss Muraoka first meets Shoji. Cut back to a talking head shot of the narrator, who is facing the audience in direct mode of address. This serves to engage the audience. Fade through black to a long shot of the narrator, who is sat in a room, which employs the chiaroscuro lighting technique. Talking head shot of the narrator. Split screen into four, showing still images of the protagonists of each of the four films, highlighting their role as lawbreakers. Cut to talking head shot of narrator. Dark lighting is used to connote the confusion about the genre. Cut to talking head shot of Robert Warshow. Gold titling in the lower 3rd of the framing to indicate name of speaker and role. Scene from Battles Without Honor and Humanity, where Shozo is tied up and walking with the other prisoners. Cut to shot in The Godfather, where Michael is dressed as a soldier in the wedding. Cut to talking head shot of Thomas Leitch. Gold titling in the lower 3rd to represent his role and name.

Gary Arnold of the Washington Post: An extraordinary achievement: a new classic in a classic American film genre. Narrator: Its sequel, The Godfather II The diegetic and non-diegetic sounds from the clip heighten as the narrator finishes talking. And even films inspired from The Godfather, Japanese films such as: Battles Without Honor and Humanity And its sequel, Battles Without Honor and Humanity: Hiroshima Deathmatch Will ALL be compared to reveal generic conventions and themes prevalent in the four films that remain consistent in the Gangster genre, after its so-called revival. Narrator: But firstly, it is important to define the Gangster genre that is commonly misinterpreted with the crime genre One general distinction between the two genres is that Unlike the crime genre, the Gangster genre follows the LAWBREAKER rather than the LAW ENFORCER. Narrator: It is difficult to give a conclusive definition to the gangster genre. Some say it is a Robert Warshow (American author and critic): Complete and self-contained drama. Narrator: Others say that Gangster films are morality talesSome say, the gangster film is about a Thomas Leitch (University Professor): Once-normal citizen Corrupted by greed, lust

Chiranjiv Singh WASAN 003258-164 Cut to final shot in The Godfather, where the men are kissing Michaels hand. Cut back to talking head shot of the narrator. Bright light used to connote that the confusion has been clarified. Fade through black to a talking head shot of the narrator. Fade through black to opening scene of The Godfather, where Don Vito is hearing requests at his daughters wedding. Chiaroscuro dark lighting is used to create enigma and mystery in the characters, who the audience are not properly introduced to. The lighting also reflects the audiences unclear idea of the film. The use of the POV and close up shots for Don Vito serve to hint at his importance and status. Cross-dissolve to a clip showing Tom Hagen and Sonny Corleone listening to the conversation between Don Vito and Amerigo Bonasera. Cross-dissolve to a clip showing Amerigo kissing the Godfathers hand. Cross-dissolve to a talking head shot of the narrator, who is looks up to show his contemplation with the questions. Cut to a talking head shot of Roland Barthes, a critic, theorist and philosopher who came up with and defined the theory of the hermeneutic code. Again, gold titling in the lower 3rd of the frame is used to indicate his name and role. Cut to the beginning of the iconic baptism scene in The Godfather. Slow fade through black to a talking head shot of the narrator. Fade through black to a scene in The Godfather II, where, in a flashback, young Vito Corleone kills Don Fanucci and gains respect in the Or a masculine drive to power. Narrator: The range of views suggest that the gangster genre is flexible with many sub genres However, considering that the films belong to the same genre suggests that there are GENERIC CONVENTIONS. Initially, the diegetic and nondiegetic sounds from the scene are played. After the scene is established the narrator begins to talk and the sounds from the clip lowers. Narrator: Similar to this documentary, The Godfather starts in medias res. The film starts in the middle of events. Many things are unclear to the audience WHO are the men with the Godfather? HOW are they related to him? WHAT importance do they have to him? WHAT are their roles? How did the Godfather attain his role, status and respect? Narrator: These are some of the intriguing questions the audience ask themselves upon watching the opening. This is known as the Roland Barthes: Hermeneutic code, whose function it is to articulate in various ways a question, its response, and the variety of chance events which can either formulate the question or delay its answer; or even constitute an enigma and lead to its solution. Narrator: Thus the medias res opening serves to create enigma and engage the audience early on Some of the questions raised are answered in the latter stages of the first film and other are answered in the dual narrative used in its 4

Chiranjiv Singh WASAN 003258-164 neighbourhood. Cross-dissolve to opening scene in Battles Without Honor and Humanity, where in the midst of a large crowd, a woman is chased down in pursuit of being raped by the police officers. Cut to medium shot of the narrator who is focusing on a tin cup (similar to the one used in Hiroshima Deathmatch). Match cut through the tin cup to the following opening scene in Hiroshima Deathmatch, where the men are gambling and a fight breaks out. Cut to talking head shot of the narrator. Fade through black to a long shot of a darkly light room, with few light sources and low-key lighting used to maximize shadows. Camera zooms to a mid shot of narrator who is seated in a chair with a desk in the foreground. Match cut to a mid shot of Don Vito in The Godfather where he is listening to requests at his daughters wedding (in the exposition of the films narrative). Cut to scene in The Godfather II, where Young Vito and his friend, Clemenza are eavesdropping on Don Fanuccis backstage conversation with a woman, who he is threatening to show his power and control. Cut to another scene in The Godfather II, where Don Fanucci is sitting in a darkly lit coffee house, collecting money from Vito. Cut back to mid-shot of the narrator in the chair with the desk in the foreground. Match cut back to scene where Don Vito is listening to requests. Dark lighting is used to connote his power, authority and hint towards his evilness. Cut away to talking head shot of sequel, The Godfather II Similarly, Battles Without Honor and Humanity starts in medias res. Likewise, it serves to raise questions to the audience and consequently creates enigma, engaging the audience In Hiroshima Deathmatch, though images and narration is used to recap the first film and establish the second film The film actually starts at this point and the preceding scene is just a recap sequence. From this presumption, it can be said that the film DOES start in medias res like its prequel. Narrator: Technically, it can be said that all four films start in medias res Another technique that is prevalent in these films, and can be considered a convention of the gangster genre, is CHIAROSCURO LIGHTING! (Said in a raspy voice imitating Don Vito in The Godfather) Though, its considered a convention of film noir, it had become increasingly used in the 1970s gangster films, which was unconventional and daring, as it was rarely used in the genre before It was used to create a sinister shadowy atmosphere, where dangerous people, in this case Don Fanucci were only partially visible. The dark lighting connotes the danger and control associated with Don Fanucci The dark lighting also serves to connote the power of certain characters And serves to emphasize the deception and secrecy of the mafia world. Narrator: This iconic scene employs chiaroscuro lighting to function similarly. Also, it shows the lack of emotion or hidden emotion of Don Vito. Gordon Willis (director of 5

Chiranjiv Singh WASAN 003258-164 Gordon Willis. Gold titling used in lower 3rd to show importance of speaker. Cut back to clip from The Godfather, where Don Vito is listening to requests Cut to Don Vitos POV shot in the beginning of The Godfather, where he is listening to requests. Cut to clip in The Godfather, where Sonny beats up Carlo in the street. Fade through black to a talking head shot of the narrator, who employs direct mode of address to engage the audience. Cross-dissolve to a talking head shot of Gordon Willis. Cut to the wedding scene in the opening of The Godfather, where bright lighting is employed. Cut back to talking head shot of Gordon Willis, who is jovial in his speech. Cut back to interior scene where Don Vito is hearing requests. Cut to the wedding scene. Cross-dissolve to talking head shot of the narrator. Cut to the shot showing the wives chatting around a table at the wedding. Cut away shot to clip in The Godfather, where the men are discussing a potential deal about importing and distributing heroin. Fade through black to a talking head shot of the narrator. Cut to scene in The Godfather, where Carlo brutally beats his wife, showing male dominance. Cut back to a talking head shot of the narrator. Cut to shot in The Godfather, where Michael is sat in a restaurant with McCluskey and Solozzo. Cut to an early scene in Battles Without Honor and Humanity, where a woman is being raped by American GIs. Cut to clip in Hiroshima Deathmatch, photography of The Godfather): The idea was that this was a character who didnt always let you know what he was thinking. Narrator: It functions to create mystery and enigma in Vitos character but also is symbolic of the evil he is involved in Interestingly, in The Godfather, the chiaroscuro lighting is also juxtaposed with bright lighting in scenes that are intercut together. Gordon Willis: In my mind and in Franciss mind the contrast between the happiness outside was quite clear. Narrator: The juxtaposition between the chiaroscuro dark lighting and the bright lighting of the wedding Depicts the two families: the outer family of wives and children who are celebrating the wedding and the inner family of men who conduct business in SECRECY The juxtaposition also serves to highlight the theme of Masculinity and shows the dominance of male characters in the film and in the Mafiosi Women are not dominant, as mafia members confirm That it is forbidden to speak to women about La Cosa Nostra, in other words mafia business The two Battle Without Honor and Humanity films also use chiaroscuro lighting in the same way: To reveal POWER and DANGER

Chiranjiv Singh WASAN 003258-164 where Shoji first meets Boss Muraoka. Not only is dark lighting used to reveal power, but also a visual hierarchy is created. Cut to scene in Hiroshima Deathmatch, where the men are gambling in a darkly lit room. Fade through black to scene in Battles Without Honor and Humanity, which employs high angled-shots to reveal the isolation where Shozo is in a cell with Wakasugi. Abrupt cut (as the narrator suddenly offers a contrast in his speech) to a talking head shot of the narrator. Cut to a shot in Battles Without Honor and Humanity, where Shozo is in a club, heavily lit with red light. Cutaway to high-angled shot in Hiroshima Deathmatch, where Shoji has just killed three men in a house. Cross-dissolve to shot in Hiroshima Deathmatch, where Shoji gives a glass of water to Muraoka's niece, there is a glimpse of the red lighting through the Japanese lanterns. Cut away to a talking head shot of the narrator. Cross-dissolve to a shot of Mrs.Yamamori who seeks a favour from Shozo in Hiroshima Deathmatch. The fact that Shozo agrees to this favour illustrates the respect for women by the Yakuza men. Fade through black to talking head shot of the narrator. The talking head shot is intercut with the opening scene of the film Intolerance (d. D.W. Griffiths, 1916). The clip from Intolerance is then intercut with the wedding sequence in exposition/beginning of The Godfather. Cut away to talking head shot of the narrator, who is in direct mode of

The diegetic and non-diegetic sounds from the clip heighten after the narrators finishes talking. Narrator: andto connote the evil and secrecy involved in the Yakuza Additionally, it is also used to connote depression, isolation and sadness for some characters. The high angled-shot employed serves to reinforce the isolation, as the depth of field is greater However, contrastingly, in the two Yakuza films, chiaroscuro lighting is only used indoors for all outdoor scenes Bright red lighting is often used

In this instance, red light is used to connote and depict the gruesome and bloody violent killings The bright lighting also portrays the culture (traditions and values) in Japan. The depiction of Japanese culture serves to reveal the values and beliefs of the Yakuza men. Narrator: Furthermore, it can be noted that there is no divide in families Women are very much involved in the family business and remain in both interior and exterior settings during conversations. This may be because of the cultural and traditional values of Japanese culture Intercuttingor cross cutting, as it was referred to then Was a simplistic editing technique used in many gangster films that dates back to the times of D.W. Griffiths. Narrator: The Godfather films use intercutting effectively, as mentioned before, with regards to the wedding scene. Narrator: But the most renowned sequence in the ENTIRE Godfather 7

Chiranjiv Singh WASAN 003258-164 address. Fade through which mimics scene in The Match cut to TRILOGY is the baptism scene towards the end of the first film. Narrator: This sequence is renowned for its use of intelligent intercutting. Coppola: I decided to include some Catholic rituals in the movie, which are part of my Catholic heritage Hence the baptism. Narrator: The intercutting is effective to create an ironic parallel between Michael as godfather to his nephew and the baptism of blood he has devised to confirm his powerful godfather status, in terms of the underworld. Narrator: Additionally, the organ soundtrack unifies the two intercut sequences seamlessly The build up to the crescendo of soundtrack signifies the wave of killings. (In the background, the crescendo is played). Sragow: The effect sealed the movies inspired depiction of the Corleones simultaneous duelling rituals the sacrament of Church and family, and the murders. Narrator: In short, it is believed that This scene of brilliant intercutting highlights the gap between the sacred rituals and the unholy rites of the Corleones

black to a church hall, the set of the baptism Godfather. the baptism scene.

Cut to talking head shot of Coppola. Gold titling in the lower 3rd is used to show the importance of Coppola, the director of the film. Cut away to the clip where the rituals are performed in the church. Cross-dissolve to the Narrator in the church hall set. Cut away to church hall scene where rituals are being performed on Michaels nephew. Cut away to the scene where Moe Green is killed. The camera is positioned from the shooters POV, as the gangster genre follows the law breaker. Cut back to scene in Church where Michael speaks. Cross-dissolve back to a long shot of the Narrator, who is walking in the church hall set. As in the film, the church hall set is lit darkly with low-key lighting to maximize shadows. Cut away to talking head shot of Michael Sragow. Cut to close up shot of Michael during the baptism scene. Cut to long shot of the Church in the baptism scene. Cut to the wedding scene where the photographer takes a photo of the Corleone family. Cut to the baptism scene where Don Tattaglia is murdered in his bed along with a prostitute. Cross-dissolve to talking head shot of the narrator. Cut to baptism scene where Michael is walking down the Church steps with everyone happily. (This clip is juxtaposed with what the narrator says, thus serving to creates irony

Chiranjiv Singh WASAN 003258-164 to engage the audience.) Cross-dissolve to talking head shot of the narrator. Cut to clip to show Michael looking at his son in Tahoe mansion is merged in a match-cut way where Young Vito is looking at his son. Cut to scene where Michael reacts angrily to learning that Kay had a miscarriage. Then there is a transition to young Vito who is worried (but remains calm) because his son caught pneumonia. Cross-dissolve to talking head shot of the narrator. Clip of the stage play in The Godfather II, where different camera angles are seamlessly edited to suspend disbelief. The camera deliberately positions the audience as spectators watching the play. Opening scene in Battles Without Honor and Humanity, where the first freeze frame and text, describing the characters appears. Opening scene in Battles Without Honor and Humanity, where the American GIs are attempting to molest an innocent women. Cut to scene in The Godfather II, where Hyman Roth is killed. Cut to crowded street scene in Battles Without Honor and Humanity, where American GIs, Japanese officials and the general public rush to the scene of the rape. Cut to scene in Battles Without Honor and Humanity, where Wakasugi commits a faked seppuku to escape jail. Fade through red (prominent colour in last clip) to talking head shot of the narrator, who employs direct mode of address for engagement purposes. Cut to the freeze frame with titling of Shozo in Hiroshima Deathmatch. The freeze frame serves to introduce Shozo and his role in society to the audience. Cut to pre-credit sequence in

The Godfather II also uses intercutting effectively. Narrator: Parallel intercuts are used to merge the dual narratives together and create a symbiotic relationship between Vito and Michael, juxtaposing their worlds, situations (economic and political) and the similarities and differences between them The two Yakuza films also use intercutting similarly However, as opposed to the seamless, continuous editing that is used in the Godfather films to suspend disbelief and portray reality The two Yakuza films use abrupt, discontinuous editing And shaky handheld camera movements

as opposed to the steady, smooth camera movements in the Godfather films To represent the chaos and mayhem in post-world war II Japan

And heighten the nihilistic atmosphere of the gruesome, violent acts The freeze-frames and titling used follow the Brechtian effect, serving to alienate the audience and remove any suspended disbelief. Narrator: ButFukasaku uses it as a plot device to inform the audience of characters and which (future) gang they belong to He also uses it, as it was his 9

Chiranjiv Singh WASAN 003258-164 Hiroshima Deathmatch, where narration and images are used to introduce the film. Fade through black to a long shot. Narrator enters from the left whistling the tune that he did before (on page 1). Camera zooms to the narrator as he reaches center of frame. Cut to clip in Hiroshima Deathmatch, where Shoji whistles his tune after confirming that he has killed three men. Cut to a talking head shot of the narrator. Cut to ending scene in The Godfather II, where Michael is sat (in a extreme close up) thinking and the recurring soundtrack begins. Cut to a talking head shot of Harlan Lebo (author of The Godfather Legacy). Cut to scene in The Godfather where Woltz wakes up to find himself in a pool of blood. Cut to a talking head shot of the narrator. Cut to scene in Battles Without Honor and Humanity, where Shuji Yano is shot multiple times before dying and there is a freeze and title to mark his death. Cut to scene in Hiroshima Deathmatch, where a title and freeze frame is used to mark the death of Shoji. Cut back to talking head shot of the narrator. Cut to pre-credits sequence in Hiroshima Deathmatch, where images and narration is used to establish the film. Cut back to talking head shot of the narrator, who is deliberately not facing the audience, to evoke the subliminal narrative role. Fade through black to scene in The Godfather, where Michael is in a intention to present the film in a historic like documentary/ news style The diegetic sound of the tune the narrator whistles is the same as the tune Shoji whistles in Hiroshima Deathmatch This is a sound motif It is a recurring diegetic sound associated with Shoji, indicating his emotional realism of being a tragic hero. The Godfather films also employ a sound motif, however it is not associated with a particular character Rather, it is a recurring soundTRACK throughout the films, which have an added value of presenting the emotional realism of situations and characters. Lebo: The score was laced with intricate melodies, Italian-tinged passaged And hauntingly tragic themes. Narrator: In the Yakuza films, there is also a recurring non-diegetic soundtrack Which is played when members of the Yakuza die, and titling and freeze frames are used to mark the deaths The exaggerated clashing, fast paced soundtrack is used to highlight the chaos and gruesome violence In certain scenes of the Yakuza films the sound has a narrative role, following Fukasakus intention of creating a documentary, news-style film Contrastingly, in the Godfather films, sound plays a subliminal narrative role as it does with most gangster films. This is a prime example of Acousmtre, where the metallic 10

Chiranjiv Singh WASAN 003258-164 restaurant, contemplating whether to kill Solozzo and McCluskey. Cut to a talking head shot of Walter Murch (sound editing in The Godfather films). There is gold titling in the lower 3rd of the frame to show the name and role of speakers. Cut back to scene where Michael contemplates what to do. Cut back to talking head shot of Walter Murch, who employs direct mode of address and hand gestures to engage the audience. Cut to preceding scene in The Godfather, where Michael shoots both Solozzo and McCluskey. Fade through black to a long shot of the narrator who is dressed in gangster-like clothing. Close up shot of the narrator. Fade through black to clip in The Godfather, where all the Dons of family are in a boardroom. Cut to close up shot of Shojis gun, as he is about to commit suicide in Hiroshima Deathmatch. Cut to close up shot in Battles Without Honor and Humanity, where Shozo pulls out a gun from his pocket at a funeral. Cross-dissolve to talking head shot of the narrator. Cut back to shot where Shozo pulls out the gun from his pocket in Battles Without Honor and Humanity. Cut back to shot of the Dons of family in the boardroom in The Godfather. Fade through black to talking head shot of the narrator. Cross-dissolve to scene in The Godfather, where Michael and his gang are dealing with casino business in LA. Cut to scene in Battles Without Honor and Humanity, where Shozo lights a cigarette whilst talking to screeching sound of a train, that we saw in a prior scene Murch: works as a clue to the state of Michaels mind at the moment the critical moment before he commits his first murder and his life turns an irrevocable corner. Narrator: Because the sound is not visually shown Murch: the audience is made to wonder- at least momentarily, if perhaps only SUBCONSCIOUSLY What is this? This broadening tension between what we see and what we hear is brought to an abrupt end with the pistol shots that kill Solozzo and McCluskey. Narrator: Semiotic analysis, particularly iconography is important to discuss the portrayal of both the mafia and the Yakuza Are they glorified? Are they Antiheroes? or are they villains? Conventional of gangster depiction is the dark coloured suit The gun The fact that the gun is mostly hidden in the suit These are all signs that reveal the status, power, respect, superiority and masculinity of gangsters The fact that the gun is hidden, hints towards the secrecy, but good mannerisms of the underworld The stylized DARK suits serves to connote secrecy and the evilness of the underworld There are even signs that present the underworld as cool and popular. Narrator: The slick hair

The smoking

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Chiranjiv Singh WASAN 003258-164 Tetsuya Sakai Shot in Battles Without Honor and Humanity, where Tetsuya puts on his shades during a conversation with Shozo. Cut to movie poster of Reservoir Dogs (1992) suggesting that Tarantino is an advocate of these post-modern techniques. Cut back to talking head shot of the narrator. Cut to a long shot of the narrator wearing gangster-like clothing, including black shades etc. Zoom in from the long shot to a mid shot of the narrator, who is dressed in the same clothing (as above). Fade through black to scene in The Godfather II, where young Vito is fired from his job. Cut to shot of Vito refusing food from his boss and walking away in The Godfather II. Cut to shot of Vito killing Don Fanucci during the festival. Cut to shot of young Vito looking at the Statue of Liberty from a ship. Fade through black to shot in Battles Without Honor and Humanity, where Shozo helps his friend who is severely bleeding. Cut to a talking head shot of the narrator. Cut to talking head shot of Luc Sante from ABC-TV Documentary The Real Gangs of New York (2003). Cut to shot of Young Corleone on ship with other immigrants in The Godfather II. Cut to the scene in The Godfather, where Don Vito is on a sickbed at his home. Cut to talking head shot of the narrator. Cut to ending shot in Battles Without Honor and Humanity, where

The black shades

These are all seen as signs or icons of a post-modern technique Presenting the underworld as cool. Narrator: In terms of iconography, the gangsters are glorified, as they are presented as cool, respectful and superior. Narration: In further discussion of the glorification of gangsters, it is pivotal to consider other aspects The film clearly indicates the lack of job opportunities for unskilled immigrants Thus, they are helpless and join the mafia, as it is one of the few opportunities that Acts as a passport to the American Dream The Yakuza films also show this helplessness through its post-world war II setting The lack of choice presented in the films allows the audience to sympathize with the characters who turn to a life of crime. Luc Sante: Crime became a necessary means of survival in lawless slums Narrator: The fact that this aspect is easily relatable to everyday life for the audience, allows us to sympathize It even becomes ironic to the extent that the audience responds to the gangsters in a supportive and celebratory manner By sympathizing with the gangsters, they become glorified, as we support their actions Narrator: They become anti-heroes

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Chiranjiv Singh WASAN 003258-164 Shozo exits. Cutaway to talking head shot of the narrator. Cutaway to talking head shot of Stuart Hall, a cultural theorist who came up with the theory of oppositional reading. Use of gold titling in the lower 3rd of frame to indicate speaker. Cut to shot of Sonny Corleone being ambushed by men with machine guns in The Godfather. Cut to a shot where Shozo stands speechless after learning that Makihara is working for Yamamori in Battles Without Honor and Humanity. Cut to shot in The Godfather II, where Michael says, I know it was you, Fredo. You broke my heart. You broke my heart! Cut to talking head shot of the narrator. Fade through black (connoting evil) to long shot in Hiroshima Deathmatch, where Muraoka talks to Shoji, who is sitting slumped with his head down. Cut to last shot in The Godfather II of Michael sitting, isolated and completely broken. Cross-dissolve to talking head shot of the narrator. Cut to scene in The Godfather, where the family is sat around a table eating Chinese takeaway. Cut to scene in The Godfather II, where Pentageli sees his brother in the court scene. Cut to street scene in Battles Without Honor and Humanity, where Shozo attacks and badly injures Doi. Cut to last scene in The Godfather, where men are paying their respect to Michael by kissing his hand. Cut to talking head shot of Don Vito. Cross-dissolve to shot in The Godfather II, where the family exits shot to congratulate their father, leaving Michael in the empty room. Cut to shot in The Godfather II,

Narrator: However, there are some who have Stuart Hall: Alternative framework of reference that fundamentally rejects the texts assumptions

The gruesome violence in the both sets of films The betrayal and lack of honour in the Yakuza films And in The Godfather II

All present the gangsters negatively The loss of honour and family traditions and love in the Yakuza films and in The Godfather II Serves to suggest a tragic hero status for the protagonists, especially Michael The depiction of the underlying themes of the films hinted at previously Family Honour And violence All aid in the discussion of the glorification of gangsters. Don Vito: A man who doesnt spend time with his family can never be a real man. Narrator: The family theme that holds 13

Chiranjiv Singh WASAN 003258-164 where Vito is looking affectionately to his child who is being cared for by his wife. Cut to talking head shot of the narrator. Cut to talking head shot of Talia Shire (who acted as Connie Corleone). Cut to shot in the opening of The Godfather II, where Fredo talks to Michael about his poor relationship with his wife. Cut to shot of Michael slapping Kay after learning that she aborted her baby. Cut to shot of Michael shouting at Kay, after he violently slaps her. Cut back to talking head shot of the narrator. Cut to last shot of The Godfather II, where Michael is sitting alone and isolated. Cut to iconic shot in The Godfather, where Don Vito is sat in his chair listening to requests. Fade through black talking head shot of the narrator. Cut to prison scene in Battles Without Honor and Humanity, where Shozo and Wakasugi are talking about brotherhood. Fade through to talking head shot of the narrator. Cut to shot in Battles Without Honor and Humanity, where Shozo is held hostage by Tetsuyas men in a hotel room. Cut to shot in Hiroshima Deathmatch, where Shoji is about to kill himself. Fade through black to talking head shot of the narrator. Cut to scene in Battles Without Honor and Humanity, where Tetsuya rebels against Yamanaka. Cut to scene in Hiroshima Deathmatch, where Yakuza men are brutally beating Shoji. importance to Vito, allows the audience to sympathize and selfidentify with the gangsters But, in The Godfather II, there is also a sense of broken family values Shire: Francis felt that he had to knock this family off. Narrator: The wrecked marriages of Connie and Fredo reinforce the idea that the family is breaking and traditions are falling apart The fact that Michael rejects his family is his biggest SIN And the audience loses all sympathy for him, as he is portrayed as a cruel, cold-blooded gangster Thus, it can be said that family determines outcomes Michael falls in the form of a tragic hero, because he has rejected his family But, Don Vito rises as an anti-hero, because of his strong family values In the Yakuza films, the theme of family is represented Through brotherhood

Likewise, the audience is able to identify and sympathize with the Yakuza However, there are many instances of betrayal and rejection of family As in the Godfather films, with portrays the Yakuza as tragic heroes The theme of honour is closely linked to the family theme, and is present in some form, in the films In the Yakuza films, there is a lack of honour, which leads to several betrayals Negatively presenting of the Yakuza

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Chiranjiv Singh WASAN 003258-164 Cut to court scene in The Godfather II, where Pentageli notices his brother and doesnt testify against Michael. Cut to shot in The Godfather, where Don Vito refuses Solozzos offer in the narcotics business. Cut to shot in The Godfather, where Michael walks out of the restaurant after committing his first murder. Fade through black to talking head shot of the narrator. Cut to scene in Battles Without Honor and Humanity, where Shozo cuts his finger off. Cut to shot in Hiroshima Deathmatch, showing the gun and blood on the floor after Shoji kills himself. Cut to talking head shot of the narrator. Cross-dissolve to scene in The Godfather, where Sonny is ambushed by men with machine guns. Cut to shot in The Godfather II, where Vito stabs Don Ciccio. Cut to long shot of the narrator Cut to close up shot of the narrator. Fade through black to talking head shot of Robert Warshow (American author and critic). Cut to iconic image of Don Vito sitting in his chair. Cut back to talking head shot of Robert Warshow. Cutaway to last shot in The Godfather II, where Michael is sat alone, covered in dark lighting. Cut back to a long shot of narrator in a bright room. As the narrator continues talking, the room slowly dims (as opposed to the beginning, where the light brightens). Fade to black. Contrastingly, in the Godfather films, the Sicilian tradition of omert Sicilian code of silence prevails serving to reveal the traditions, values and morals of the mafia Which acts to glorify them as antiheroes, as the audience is able to sympathize and identify with them. Narrator: Being gangster films, the controversial theme of violence is very much present In the Yakuza films, the violence presented is highly gruesome Bloody and horrific Similarly, in the Godfather films, though there are few violent acts The scenes with violence are gruesome and horrific Cinematographer Willis used yellow and orange tones to highlight the neo-realism in the violent scenes. Narrator: The scenes of gruesome violence serve to depict the gangsters negatively and on a final note, it can be concluded that Warshow: We are always conscious that the meaning of this kind of career is a drive for success; the typical gangster film presents a steady upward progress followed by a very precipitous fall. Narrator: Thus, the gangster genre provides an interesting narrative trajectory that the audience engages in, as it can be easily related to real life. The Godfather theme music is played as Narrator finishes speaking.

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Chiranjiv Singh WASAN 003258-164 List of Sources: Books: Cowie, Peter. The Godfather Book. London: Faber and Faber, 1997. Print. A detailed overview of the Godfather trilogy. The book also discusses the films in terms of themes and also has quotes (critical reception/ reviews quotes from those in the production) about the films. Hardy, Phil. The Overlook Film Encyclopedia: the Gangster Film. Woodstock, NY: Overlook, 1998. Print. ! Provided a history of the Gangster genre. Phillips, Gene D., Walter Murch, and Francis Coppola Ford. Godfather: the Intimate Francis Ford Coppola. Lexington: University of Kentucky, 2004. Print. Though the book gives an overview on Coppolas career, it also provides sections of useful information about the logistic filmmaking process in the Godfather films. Additionally, it provided information on the critical reception of the films after their premiers. Moreover, the book provided a lot of quotes (some of which are from the actual cast, including Coppola himself), which are used in the script. The foreword of this book, written by Walter Murch gives a focus on the sound aspect of the Godfather films. Stephens, Michael L. Gangster Films: a Comprehensive, Illustrated Reference to People, Films, and Terms. Jefferson, NC: McFarland, 1996. Print. Talks about the themes and conventions of the Gangster genre. Websites: Bill. "Review: The Godfather (1972)." Rev. of The Godfather. Weblog post. Bill's Movie Emporium. N.p., Posted 19 May 2009. Web. Accessed 28 July 2011. <http://billsmovieemporium.wordpress.com/2009/05/19/revie w-the-godfather-1972/>. This blog review particularly focuses on the portrayal of the gangster world in The Godfather. It discusses the portrayal of the mafia and raises interesting questions (that are explored in the script) about the idea of glorification. Cornelius, David. "Battles Without Honor and Humanity." Rev. of Battles Without Honor and Humanity. Web blog post. EFilmCritic. N.p., Posted 20 Mar. 2005. Web.

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Chiranjiv Singh WASAN 003258-164 Accessed 18 July 2011. <http://www.efilmcritic.com/review.php?movie=10920>. Review and plot summary of Battles Without Honor and Humanity. Erickson, Glenn. "DVD Savant Review: The Yakuza Papers: Battles Without Honor And Humanity (The Complete Box Set)." Rev. of The Yakuza Papers. Weblog post. DVD Talk DVD Movie News, Reviews, and More. N.p., Posted 28 Nov. 2004. Web. Accessed 20 Oct. 2011. <http://www.dvdtalk.com/dvdsavant/s1442batt.html>. This blog provided me with information about the Yakuza sub-genre: the themes, conventions and traditions involved in the film series. The blog also briefly discusses the portrayal of the Yakuza and the main character, Shozo. Euker, Jake. "Battles Without Honor and Humanity." Rev. of Battles Without Honor and Humanity. Web blog post. Filmcritic.com. N.p., Posted 13 Jan. 2005. Web. Accessed 18 July 2011. <http://www.filmcritic.com/reviews/1973/battles-withouthonor-and-humanity/?OpenDocument>. Review of Battles Without Honor and Humanity. Additionally, the review includes comparisons with American cinema, particularly comparing the film with The Godfather trilogy. Hill, Derek. "Kinji Fukasaku's Battles Without Honor and Humanity." Rev. of Battles Without Honor and Humanity. Web blog post. Images: A Journal of Film and Popular Culture. N.p., n.d. Web. Accessed 18 July 2011. <http://imagesjournal.com/2004/reviews/battleswithout/>. Review of Battles Without Honor and Humanity, particularly looking at the themes (e.g. violence) and traditions (of Japanese culture) present in the film. J.D. "DVD of the Week: The Godfather Collection: The Coppola Restoration." Rev. of The Godfather Collection DVD. Weblog post. Radiator Heaven. N.p., Posted 26 Sept. 2008. Web. Accessed 10 Aug. 2011. <http://rheaven.blogspot.com/2008/09/dvd-of-weekgodfather-collection.html>. This blog firstly establishes the cultural impact and influence of the Godfather films. In addition, it discusses the film and the characters by applying it to the Greek tragedy structure. Keith. "Battles without Honor and Humanity II: Hiroshima Death Match." Rev. of Battles without Honor and Humanity: Hiroshima Deathmatch. Web blog post. Teleport City. N.p.,

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Chiranjiv Singh WASAN 003258-164 Posted 20 May 2005. Web. Accessed 18 July 2011. <http://teleport-city.com/wordpress/?p=724>. Opinionated review and plot description of Hiroshima Deathmatch. Larke-Walsh, George S. Screening The Mafia. Jefferson, NC: McFarland &, 2010. Google Books. This provided me with detailed information about the gangster genre and the representation and portrayal of the gangster in films (with examples of films). McCarty, John. "The Godfather Trilogy." Film Reference. N.p., n.d. Web. Accessed 10 Aug. 2011. <http://www.filmreference.com/Films-Fr-Go/The-GodfatherTrilogy.html>. This site discusses the history and context (SHEP: Social, Historical, Political & Economic) of how The Godfather films were made. It also talks briefly about the gangster genre and how the trilogy compared to and changed the genre. Milojevic, Jennie. "The Yakuza Papers: Battles Without Honor & Humanity (1973)." Rev. of Battles Without Honor and Humanity. Web blog post. Bloodtype Online. N.p., n.d. Web. Accessed 18 July 2011. <http://www.bloodtypeonline.com/y4.htm>. Review of Battles Without Honor and Humanity with some analysis/specific focus on certain scenes in the film. The blog post also vaguely discusses some of the themes present in the film. Also, there is a mention of the anti-hero protagonist concept, which is more deeply analysed in the script. SJHoneywell. "To the Mattresses." Rev. of The Godfather Trilogy. Web blog post.1001plus. N.p., Posted 13 Sept. 2010. Web. Accessed 10 Aug. 2011. <http://1001plus.blogspot.com/2010/09/tomattresses.html>. This blog provides an overview of the storyline of the first two Godfather films. It also hints towards the topic of the glamorization of the mafia and the sympathy/empathy that the audience feels towards the mafia. Turnbull, Bob. "The Yakuza Papers." Rev. of The Yakuza Papers. Weblog post. Eternal Sunshine Of The Logical Mind. N.p., Posted 09 Mar. 2009. Web. Accessed 20 Oct. 2011. <http://eternalsunshineofthelogicalmind.blogspot.com/2009 /03/yakuza-papers.html>. This review provided me with a wealth of information about The Yakuza Papers film series, particularly

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Chiranjiv Singh WASAN 003258-164 focusing on the mise en scene and editing techniques used to stylize the film. The review also talks about the themes of the series (particularly, the theme of family, honour/dishonour and sacrifice). Warshow, Robert. "The Gangster Film vs. The Western." Homepage of Dr. David Lavery. N.p., n.d. Web. Accessed 09 Aug. 2011. <http://davidlavery.net/courses/Gangster/gangsterwestern.htm>. This table (compared with western films) provided me with knowledge of the gangster genre conventions. "A New Wave - Japan - Film, Theatre, Director, Name, Cinema, Story, Documentary." Weblog post. Film Reference. N.p., n.d. Web. Accessed 09 Aug. 2011. <http://www.filmreference.com/encyclopedia/IndependentFilm-Road-Movies/Japan-A-NEW-WAVE.html>. This provided me with knowledge about Japanese cinema and the birth of Yakuza films within its history. "From Noble Savage to Social Problem - Gangster Films Movie, Voice, Story." Weblog post. Film Reference. N.p., n.d. Web. Accessed 24 July 2011. <http://www.filmreference.com/encyclopedia/CriticismIdeology/Gangster-Films-FROM-NOBLE-SAVAGE-TO-SOCIALPROBLEM.html>. This article provided me with information about how gangsters were portrayed in films: as men who faced social problems, allowing the audience to sympathize with them and thus presenting gangsters in a more positive light. "Gangster Films." Weblog post. Film Reference. N.p., n.d. Web. Accessed 24 July 2011. <http://www.filmreference.com/encyclopedia/CriticismIdeology/Gangster-Films.html>. This provided me with information about the gangster genre and its history (including examples of films). "Motion Picture Production Code." Wikipedia, the Free Encyclopedia. Web. Accessed 30 Nov. 2011. <http://en.wikipedia.org/wiki/Motion_Picture_Production_C ode>. This provided me with complete information about the Hays Code, which I used when talking about the revival of the gangster genre in terms of an institutional viewpoint.

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Chiranjiv Singh WASAN 003258-164 "Organization Men." Weblog post. Film Reference. N.p., n.d. Web. Accessed 24 July 2011. <http://www.filmreference.com/encyclopedia/CriticismIdeology/Gangster-Films-ORGANIZATION-MEN.html>. This article discussed how gangsters can be categorized and theorized, debating the anti-hero argument, which was very relevant to a section of my script. "Reading Against the Grain Revisited." JCsplash. Web. Accessed 30 Nov. 2011. <http://www.ejumpcut.org/archive/jc44.2001/aspasia/agains tgrain1.html>. From this source, I was able to directly quote Stuart Hall on his theory of oppositional reading. "Roland Barthes, S/Z." Www.units.muohio.edu. Web. Accessed 30 Nov. 2011. <http://www.units.muohio.edu/technologyandhumanities/bart hes.htm>. This provided me with useful information about Barthes theories, which are closely related to audience engagement (e.g. enigma code, hermeneutic code). Additionally, I was able to use this website to directly cite a quote from Barthes. "The Yakuza Papers - Battles Without Honor & Humanity." Rev. of Battles Without Honor & Humanity. Weblog post. Raging Bull Reviews. N.p., n.d. Web. Accessed 20 Oct. 2011. <http://ragingbullreviews.com/article/theyakuza-papers-battles-without-honor-and-humanity>. This blog review provided a useful and brief plot summary of Battles Without Honor and Humanity. It also made vague links/references to The Godfather films. "The Yakuza Papers - Deadly Fight in Hiroshima." Rev. of Battles Without Honor & Humanity: Hiroshima Deathmatch. Weblog post. Raging Bull Reviews. N.p., n.d. Web. Accessed 20 Oct. 2011. <http://ragingbullreviews.com/article/the-yakuza-papersdeadly-fight-in-hiroshima>. This blog review provided a useful and brief plot summary of Battles Without Honor and Humanity: Hiroshima Deathmatch. Youtube: Intolerance. Dir. D.W. Griffiths. Perf. Mae Marsh and Robert Harron. YouTube. Posted 23 Sept. 2010. Web. Accessed 12 Oct. 2011. <http://www.youtube.com/watch?v=MU1UOrKTrs8>.

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Chiranjiv Singh WASAN 003258-164 This is the full film of Intolerance (d. D.W. Griffiths, 1916) The Musketeers of Pig Alley. Dir. D.W. Griffiths. Perf. Elmer Booth and Lillian Gish. YouTube. N.p., Posted 02 Nov. 2007. Web. Accessed 12 Oct. 2011. <http://www.youtube.com/watch?v=kG5hbpL8Njo>. The full film of The Musketeers of Pig Alley (d. D.W. Griffiths, 1912) Gunned Down Scene - Public Enemies. Dir. Michael Mann. Perf. Christian Bale, Johnny Depp and James Russo. YouTube. N.p., Posted 16 June 2011. Web. Accessed 09 Aug. 2011. <http://www.youtube.com/watch?v=xx2qTUg_buo>. Clip (used in script) from Public Enemies (d. Michael Mann, 2009) Filmography: Battles Without Honor and Humanity (d. Kinji Fukasaku, 1973) Battles Without Honor and Humanity: Hiroshima Deathmatch (d. Kinji Fukasaku, 1973) The Godfather (d. Francis Ford Coppola, 1972) The Godfather II (d. Francis Ford Coppola, 1974) American Gangster (d. Ridley Scott, 2007) Boardwalk Empire (2010) Intolerance (d. D.W. Griffiths, 1916) Public Enemies (d. Michael Mann, 2009) Reservoir Dogs (d. Quentin Tarantino, 1992) The Musketeers of Pig Alley (d. D.W. Griffiths, 1912) The Sopranos (1999-2007)

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