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luis m. garcía-mainar the crime film has traditionally been defined through spatial concepts that point to social issues metaphorically, from the urban underworld of gangsters and private eyes to the hostile foreign territories traveled by spies. The macrogenre of the crime film itself can be tentatively explained as a narrative structure that expresses views about the conflicting relationship between personal initiative and the social organization of communal life by tracing the lives of the agents of crime: criminals, victims, and law enforcers. The gangster film, the suspense thriller, and the detective/cop film deploy these agents as protagonists of stories where we witness the passage from a social space, troubled by fantasies of power and disempowerment, to a space of adventure that serves as the escape from social oppression. In this process the self is asserted through violence.1 Since space is so intimately related to the form, content, and cultural significance of the genres of crime, analysis of it should open ways to understand the aesthetic, thematic, and ideological changes undergone by crime films. Within the detective/cop subgenre of contemporary Hollywood, the procedural and the detective film are still, despite their long tradition, the most relevant variations, and both
Journal of Film and Video – University of Illinois Press
Published: Aug 30, 2013
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