By Jonathan Munby

In this study of Hollywood gangster films, Jonathan Munby examines their controversial content and how it was subjected to continual moral and political censure.

Beginning in the early 1930s, these films told compelling stories about ethnic urban lower-class desires to "make it" in an America dominated by Anglo-Saxon Protestant ideals and devastated by the Great Depression. By the late 1940s, however, their focus shifted to the problems of a culture maladjusting to a new peacetime sociopolitical order governed by corporate capitalism. The gangster no longer challenged the establishment; the issue was not "making it," but simply "making do."

Combining film analysis with archival material from the Production Code Administration (Hollywood's self-censoring authority), Munby shows how the industry circumvented censure, and how its altered gangsters (influenced by European filmmakers) fueled the infamous inquisitions of Hollywood in the postwar '40s and '50s by the House Committee on Un-American Activities. Ultimately, this provocative study suggests that we rethink our ideas about crime and violence in depictions of Americans fighting against the status quo.

Chicago; London: University of Chicago Press, 1999. 277p.

By Aaron Michael Kerner and Jonathan L. Knapp .

Affective Strategies in Transnational Media. Extreme Cinema examines the highly stylized treatment of sex and violence in post-millennial transnational cinema, where the governing convention is not the narrative but the spectacle. Using profound experiments in form and composition, including jarring editing, extreme close-ups, visual disorientation and sounds that straddle the boundary between non-diegetic and diegetic registers, this mode of cinema dwells instead on the exhibition of intense violence and an acute intimacy with the sexual body. Interrogating works such as Wetlands and A Serbian Film, as well as the sub-culture of YouTube ‘reaction videos’, Aaron Michael Kerner and Jonathan L. Knapp demonstrate the way content and form combine in extreme cinema to affectively manipulate the viewing body.

Edinburgh: Edinburgh University Press, 2016. 188p.

By Asbjørn Grønstad.

This book explores the figuration of screen violence, as well as its historical and institutional contexts, in a number of metaviolent films both celebrated and vilified, and attempts thereby to forge a new understanding of a phenomenon whose defining feature seems to be perpetually elusive. As Transfigurations grapples with a series of issues that at times may seem only tenuously interrelated, I shall here take the liberty to summarize and pinpoint its major preoccupation. The objective is to re-establish an awareness of the transtextual opacity of film fiction, an awareness long occluded both by theoretical fallacies and by the petrification of our acquired ways of seeing.

Amsterdam: Amsterdam University Press, 2008. 278p.