L’ouvrage rassemble des communications bilingues (anglais-français) issues du colloque tenu à l’université de Rouen sur la représentation filmique de la criminalité aux États-Unis de 1929 à 1951. Les liens d’Hollywood avec le crime organisé (mafia urbaine, grand banditisme …) posent diverses questions : l’héroïsation hollywoodienne du gangster, devenu le vecteur d’un nouveau système de valeurs, ne tend-elle pas à apparenter la transgression à un jeu ? L’esthétique de la violence n’accroît-elle pas la fascination des jeunes pour toute déviance, légitimant la mort virtuelle-réelle comme unique solution en cas de conflit ? Les studios hollywoodiens fondent-ils leur puissance et leur légitimité sur la diffusion de valeurs illicites ? Le recueil montre tout d’abord que la diffusion de ces nouveaux comportements répond à des choix économiques ; puis il aborde les rapports entre idéologie et société, traite ensuite de la censure et enfin réexamine l’esthétique de la violence.

Umberto Anastasio, better known as Albert Anastasia, was an Italian-American mobster and hitman who became one of the deadliest criminals in American history and one of the founders of the modern American Mafia in New York City. For all-out savagery and ruthlessness, few other leaders of the Mafia worldwide have rivaled Anastasia, known to peers as "The Mad Hatter" and to journalists as "The Lord High Executioner." After escaping a death sentence in 1921 and multiple other arrests for murder, he later served as director of the national crime syndicate's contract murder department ("Murder, Inc.") from 1931 until informers brought it down ten years later. By 1951 he led one of New York City's Five Families, a post he held until his public barbershop assassination in October 1957. This first-ever book-length biography of Anastasia traces the mobster's life and the ripple effects his career had on the American crime world. The story also tracks his brothers and their families, while debunking certain widespread myths about their parentage, various deportations, trials, convictions, and eventual retirement from the mob, dead or alive.

In 1940 and 1941 a group of ruthless gangsters from Brooklyn’s Brownsville neighborhood became the focus of media frenzy when they—dubbed “Murder Inc.,” by New York World-Telegram reporter Harry Feeney—were tried for murder. It is estimated that collectively they killed hundreds of people during a reign of terror that lasted from 1931 to 1940. As the trial played out to a packed courtroom, shocked spectators gasped at the outrageous revelations made by gang leader Abe “Kid Twist” Reles and his pack of criminal accomplices. News of the trial proliferated throughout the country; at times it received more newspaper coverage than the unabated war being waged overseas. The heinous crimes attributed to Murder, Inc., included not only murder and torture but also auto theft, burglary, assaults, robberies, fencing stolen goods, distribution of illegal drugs, and just about any “illegal activity from which a revenue could be derived.” When the trial finally came to a stunning unresolved conclusion in November 1941, newspapers generated record headlines. Once the trial was over, tales of the Murder, Inc., gang became legendary, spawning countless books and memoirs and providing inspiration for the Hollywood gangster-movie genre. These men were fearsome brutes with an astonishing ability to wield power. People were fascinated by the “gangster” figure, which had become a symbol for moral evil and contempt and whose popularity showed no signs of abating. As both a study in criminal behavior and a cultural fascination that continues to permeate modern society, the reverberations of “Murder, Inc.” are profound, including references in contemporary mass media. The Murder, Inc., story is as much a tale of morality as it is a gangster history, and Murder, Inc., and the Moral Life by Robert Whalen meshes both topics clearly and meticulously, relating the gangster phenomenon to modern moral theory. Each chapter covers an aspect of the Murder, Inc., case and reflects on its ethical elements and consequences. Whalen delves into the background of the criminals involved, their motives, and the violent death that surrounded them; New York City’s immigrant gang culture and its role as “Gangster City”; fiery politicians Fiorello La Guardia and Thomas E. Dewey and the choices they made to clean up the city; and the role of the gangster in popular culture and how it relates to “real life.” Whalen puts a fresh spin on the two topics, providing a vivid narrative with both historical and moral perspective.

Comic Books Incorporated tells the story of the US comic book business, reframing the history of the medium through an industrial and transmedial lens. Comic books wielded their influence from the margins and in-between spaces of the entertainment business for half a century before moving to the center of mainstream film and television production. This extraordinary history begins at the medium’s origin in the 1930s, when comics were a reviled, disorganized, and lowbrow mass medium, and surveys critical moments along the way—market crashes, corporate takeovers, upheavals in distribution, and financial transformations. Shawna Kidman concludes this revisionist history in the early 2000s, when Hollywood had fully incorporated comic book properties and strategies into its business models and transformed the medium into the heavily exploited, exceedingly corporate, and yet highly esteemed niche art form we know so well today.