Titlebook: British Crime Film; Subverting the Socia Barry Forshaw Book 2012 Palgrave Macmillan, a division of Macmillan Publishers Limited 2012 21st c

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https://doi.org/10.1007/978-3-030-23447-8 (in both the popular and serious press, prissily condemning such shock tactics while simultaneously exploiting sensationalism to massage sales). But this manufactured outrage did little harm to the filmmakers’ bottom lines; to some degree, it acted as a useful promotional tool. Such condemnation wa

legitimate

https://doi.org/10.1007/978-3-030-23447-8arginalised psychopathic killers moving from periphery to centre stage. Needless to say, the threat (or promise) of violence has long been an integral element of the genre, but its filmic representation has often been circumspect — even in the era when the Kray Twins ruled London’s East End with ext

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The City as MetroMap: Envisioning Montrealaspects of British life marginalised by more mainstream British movies: such aspects included the contrast of Southern privilege with Northern joblessness, the breeding grounds of crime-ridden housing estates, a committed treatment of racism and the ideological distance of regional coppers from the

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Resistance

Place as Assemblage: Montreal Garden Mapping dramatic (and violent) possibilities of such conflicts. Another, similar, theme involves the new corporate crime, reluctantly tolerating — then eliminating — those who threaten the status quo (and profits). Variations on this theme have served as metaphors for a larger conflict between bloody-minde

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ineluctable