archives 2005 » jan. 5th
IMMIGRATION
Borderline Realities

When Mexican men and women living in South Philadelphia become crime victims, they're often too afraid to tell the police.

by Kate Kilpatrick

One day in his first year in the U.S., Rubén, now 26, left his apartment at 15th and Bainbridge, where he lived with seven other men, to go to work. With the other men at work too, the house was empty all day.

When Rubén returned that evening everything was missing--the TV, VCR, PlayStation, telephone, stereo, CDs (most of them Mexican), air conditioner, bed covers and clothes. Their collective hidden savings--totaling $11,000--were gone. None of the men spoke much English, or knew where to turn for help. One of the men told his boss, a restaurant owner, who said that because they were illegal, there was nothing he could do. No one contacted the police.

This story's far from unusual. Those in South Philadelphia's Mexican community say they're the victims of countless crimes--muggings, bike thefts, robberies, armed assaults, rapes--that never get reported.

Rubén's friend Jaime, 26, sums up a common experience: "You can drive, but you can't [legally]," he says. "So most Mexicanos go for a bike. In the restaurant business you get off at 12 or 1. If you're a dishwasher, you probably get off at 2. If you live at Seventh and Tasker, or Fifth or Fourth and Morris or Dickinson, mostly that part is bad. We can't afford to pay expensive rent to live on Fitzwater or Bainbridge. So most of the Mexicanos in South Philly live in dangerous places. I know a lot of my friends were assaulted by guys trying to get their bikes. We can't get a bank account, so we keep the money in our pocket. I don't know how they know that. We keep all our money until we send it home. So a lot of people get robbed."

"Stereotypes." University of Michigan. 05 Apr. 2008 <http://www.umich.edu/~themafia/stereotypes.html>

Francis Ford Coppola’s The Godfather, has been successful in perpetrating a negative image of Italian Americans. The Godfather has become synonymous with organized crime and such a relationship is referred to as the dissociation model in which “a universal stereotype is known and presented to us (us meaning the audience) by the mass media.” Research studies indicate that The Godfather dramatically changed the perception of Italian- American films. Prior to the movie’s release in 1972, 43% of Italian based films made in America contained mafia themes, while the number rose to 57% following the influence of The Godfather. Ben Lawson of the Italian Studies and Film Studies Department at Purdue University conducted surveys asking, “Do Mafia movies and television shows such as the Sopranos affect the image of Italian Americans?" The majority replied that The Godfather is the most prominent mafia movie or show. Additionally subjects were asked to "name three things that come to mind when thinking of Italian-Americans." Among the most popular responses were those of mafia, greedy, sneaky, and violence.

It remains evident that an Italian American stereotype exists and The Godfather was instrumental in further reconfirming many of the preconceived notions associated with the ethnic group. While some were able to move themselves past the grotesque actions of the Corleone’s, others were simply too appalled by the family’s willingness to resort to extreme violence. The polarizing nature of the Corleone family is displayed; regardless of the family’s positive familial values and strong bonds, many viewers could not empathize with mass murderers. While some gained newfound respect for Mafia members and their sensitivity in the domestic setting, others found the mob to be even more in their disfavor.

    Brion, Denis J. “Pluralism: Rashomon and Contested Conceptions of Criminality.” (2006) Washington & Lee Legal Studies Paper No. 2006-11.

    This paper is a Legal Studies paper written by Washington and Lee student Denis Brion in September 2006. In his paper, he uses the film Rashomon as the basis for his argument about pluralism in human perception carried into the various degrees of criminality. The film depicts four different reports of a violent crime in twelfth century Japan, told by three participators and one witness. These four perspectives are the extended to elaborate on the four modes of criminality and the four levels of individual human consciousness using the California Supreme Court case Taylor vs. Supreme Court as the specific case study. By providing a deep analysis of the aesthetics within the film Rashomon, Brion contends that the United States judicial system works as well by aesthetic acts. He begins by providing a close textual analysis of the four different storytellers in the film: the bandit, the woman, the man, and the witness. In parallel, he then goes on to closely evaluate the Taylor vs. Supreme Court case. Brion then extrapolates his argument into the subject of human nature playing its role in each case. After describing the four levels of consciousness alluded to above, he writes, in a phrase with which Kurosawa would surely agree with, that “perception is a hypothesis; and the reality we perceive is an interpretation.”

Primarily, this paper is extremely useful in a study of Kurosawa’s film Rashomon since it provides a scene by scene close textual analysis of the four different reports shown in the film. Furthermore, it provides a unique insight into the deeper human nature described in the film. Finally, its emphasis on a legal studies perspective in the discussion of the paper provide an important view on the nature of crime in the film, a point that is often overlooked in the greater narrative of perception.

    The article “New Mythology of Crime”, by John G. Cawelti examines the major popularity and acclaim associated with movie “The Godfather” and the reasons historically and socially for it rise to prominence in the minds of American entertainment consumers.

    People throughout history have been fascinated with crime, especially violent crime. In its earliest example we have the Illiad and several works of Shakespeare. This article takes a look at the progression of man’s fascination with crime or violence and how the development of the crime myth has has been shaped as a result the way in which the public identifies with character of the criminal.

    Cawelti examines the possibility that “The Godfather” popularity and renown can be accredited not only to what he describes as “Skillful writing, striking and emotionally involving characters and situation, and a powerfully unified action”, but also to the creation of a new type of crime mythology. He goes on to describe the development of the crime myth throughout history and shows its departure from the traditional dichotomy of moral good and sin towards dynamics that place the criminal in the role of the main character. Several factors influenced the development of the crime myth throughout the 19^th and 20^th centuries. Among these are the development of the detective story, which helped to create a sort of intrigue towards stories of crime and criminal activity. Romanticized criminal characters such as Robin hood and Jesse James also developed during the 19^th and 20^th as well as a deeper insight into the criminal mind through the fields of psychology and sociology.

    A unique aspect of “The Godfather” was the importance and imagery of the family to refer to a criminal organization. This conceit began a new type of association with the criminal character, a sort of understanding or identification with character that was never so prevalent in the crime myth previously. Also, “The Godfather” introduced a sense of awe or fascination with the power and respect of the criminal organization as a whole. The combination of these factors are clearly evident in the film as various parts of the movie are defined by family events, whether it is the wedding of Vito Corleone’s daughter or the baptism of Michael Corleone’s godson, the criminal activities are consistently connected directly with the family. The development of these new conceits is just one of the factors that set “The Godfather” apart as unique and help to explain its tremendous popularity.

A fight over a Chinatown discount bus route ended in a stabbing death on Thursday night, the police said.

The victim, identified by the police as Zhen Ji Li, 31, of East Broadway, was stabbed nine times shortly after 9 p.m. at Pike and Henry Streets and was pronounced dead at the scene. The police arrested Lei Chen, 25, of Indianapolis, charging him with second-degree murder and criminal possession of a weapon.

According to an investigator, an off-duty agent for the Immigration and Naturalization Service saw the two men struggling and held Mr. Chen at gunpoint until the police arrived. The agent was not identified.

The two men involved in the episode knew each other and worked together for one of the Chinatown bus companies, the police said.

''It appears to be a dispute over money, how much was going to be remunerated, I guess, for the purchase of a bus route, a bus company,'' Police Commissioner Raymond W. Kelly said yesterday.

The highly competitive bus companies, which carry passengers from New York's Chinatown to Chinatowns in Philadelphia, Washington, Boston and other cities, have been linked to recurring violence here. It was unclear yesterday whether the fight was connected to previous conflicts in the neighborhood.

New Yorker; 10/22/2007, Vol. 83 Issue 32, p150-163, 13p

The article profiles author and television producer David Simon. Simon, a former reporter for the newspaper "The Baltimore Sun," created the television program "The Wire" about drug crimes in Baltimore. Convicted drug dealer Melvin Williams plays a role on the program. Simon comments how the program depicts the devaluation of people and how much of the program's content is inspired by real events. He describes his struggle to get the program aired on the cable network Home Box Office (HBO).

This site is a non-profit, freely browsable database of crimes reported in Chicago.

It is not affiliated with the Chicago Police Department or with Google Maps. It is not an official source of crime information for the city of Chicago. Rather, it is an alternative view of public record that is available elsewhere.

In defining crime, this article sites The Godfather as a film that not only was wildly successful in its own right, but one that also sparked a crime craze in terms of the manner in which violence was portrayed and consumed by the public.  While it does not attempt to claim that this movie somehow created interest in crime, because this is something the article suggests if very innate to human beings, but rather questions how human beings justify their interest in violence and how definitions of crime vary between cultures.  Finally, the article seeks to answer the question as to whether or not this film somehow changed beliefs about crime and violence.

In order to consider these questions, and prove The Godfather, both as a film and a novel, is representative of a new morality regarding crime, the authors proceed by comparing the structures of this film to the structures of novels and films in the past.  The first aspect of the movie that is considered is the usage of the word “family,” specifically given its historical usage in Italian, which is symbolically used as a replacement for the mafia, or organized crime.  The use of the word family as well as the parallel structures drawn from the Corleone family itself to that of the organized crime unit changes how one views the crime family, making it more complex that simply a group of gangsters out to commit crimes.

A second important factor in the view of crime put forth by The Godfather, is the way in which violence is romanticized and justified in the film.  As the article suggests, we then understand Don Vito’s choices and become sympathetic to him as a character.  As Michael understands him, we too accept his violence.

The article also discusses how a scientific and social approach to crimes had arisen, and places this as a third way in which beliefs about violence were changing.  There was a movement, as depicted in this film, away from morals and religion, which were traditionally associated with crimes.  Therefore, a new belief system had arisen along with new entertainment.

This film review of The Godfather, discusses its merits within its own time. Specifically the film was one of the highest grossing of its time which led to a resurgence of Hollywood film as there had been a great deal of foreign competition at the time.  Francis Ford Coppola solidified himself as a Director despite only being a film student.

As a nearly three hour gangster film, Coppola’s reluctant project was not expected to be such a success, especially given its small budget, despite what we now know is a star packed cast, including Marlon Brando, Al Pacino, James Caan, and Robert Duvall amongst others.  In addition to grossing a great deal of money, the film won many Oscars, and was highly critically acclaimed.

Despite the gangster genre having been around for quite a while, The Godfather, as a film, and Coppola as a Director reinvented it.  Though the film and characters are somewhat dark, the main characters are very well liked and become tragic heros.  The crimes the commit are justified in some respect and the violence in this film, and many that would follow, was romanticized.

A mafia family story set in the 1940’s and 50’s, “The Godfather is an insightful sociological study of violence, power, honor and obligation, corruption, justice and crime in America.”  The honorable Corleone family is an Italian-American immigrant family that is very tight knit.  Don Corleone, for instance, believes strongly in family values despite what one would imagine a crime lord to value.

This film review of The Godfather, discusses its merits within its own time. Specifically the film was one of the highest grossing of its time which led to a resurgence of Hollywood film as there had been a great deal of foreign competition at the time.  Francis Ford Coppola solidified himself as a Director despite only being a film student.

As a nearly three hour gangster film, Coppola’s reluctant project was not expected to be such a success, especially given its small budget, despite what we now know is a star packed cast, including Marlon Brando, Al Pacino, James Caan, and Robert Duvall amongst others.  In addition to grossing a great deal of money, the film won many Oscars, and was highly critically acclaimed.

Despite the gangster genre having been around for quite a while, The Godfather, as a film, and Coppola as a Director reinvented it.  Though the film and characters are somewhat dark, the main characters are very well liked and become tragic heros.  The crimes the commit are justified in some respect and the violence in this film, and many that would follow, was romanticized.

A mafia family story set in the 1940’s and 50’s, “The Godfather is an insightful sociological study of violence, power, honor and obligation, corruption, justice and crime in America.”  The honorable Corleone family is an Italian-American immigrant family that is very tight knit.  Don Corleone, for instance, believes strongly in family values despite what one would imagine a crime lord to value.

In defining crime, this article sites The Godfather as a film that not only was wildly successful in its own right, but one that also sparked a crime craze in terms of the manner in which violence was portrayed and consumed by the public.  While it does not attempt to claim that this movie somehow created interest in crime, because this is something the article suggests if very innate to human beings, but rather questions how human beings justify their interest in violence and how definitions of crime vary between cultures.  Finally, the article seeks to answer the question as to whether or not this film somehow changed beliefs about crime and violence.

In order to consider these questions, and prove The Godfather, both as a film and a novel, is representative of a new morality regarding crime, the authors proceed by comparing the structures of this film to the structures of novels and films in the past.  The first aspect of the movie that is considered is the usage of the word “family,” specifically given its historical usage in Italian, which is symbolically used as a replacement for the mafia, or organized crime.  The use of the word family as well as the parallel structures drawn from the Corleone family itself to that of the organized crime unit changes how one views the crime family, making it more complex that simply a group of gangsters out to commit crimes.

A second important factor in the view of crime put forth by The Godfather, is the way in which violence is romanticized and justified in the film.  As the article suggests, we then understand Don Vito’s choices and become sympathetic to him as a character.  As Michael understands him, we too accept his violence.

The article also discusses how a scientific and social approach to crimes had arisen, and places this as a third way in which beliefs about violence were changing.  There was a movement, as depicted in this film, away from morals and religion, which were traditionally associated with crimes.  Therefore, a new belief system had arisen along with new entertainment.