Antonin Artaud: Surrealist Theory and "The Seashell and the Clergyman" Germaine Dulac's 1928 film "The Seashell and the Clergyman" was the only one of several of Antonin Artaud's scenarios for Surrealist films to be produced (and the only for which he would write a screenplay.) Despite Artaud's own misgivings about the film (perhaps due to Dulac's refusal to include him in the artistic direction), "The Seashell and the Clergyman" fulfilled much of Artaud's theories about Surrealist film and would influence many future Surrealist films in their techniques and goals. An examination of theories (including Artaud's) of Surrealist film, the film itself, arguments in favor of other films, and the influence of "The Seashell and the Clergyman" on future films reveals that Dulac's film should be considered the first Surrealist film.

    David Lynch's Inland Empire follows an actress who slowly becomes so involved in her latest film that she assumes the identity of herself and her character.  The movie borrows heavily form Surrealist film, confusing the progression and overlap of time and using irrational or unexplainable events interspersed with a vague story line.  In fact, Ebert writes “There is a buried connection between the surrealists and the Sex Pistols, Bunuel and David Lynch, Dali and Damien Hirst”.  To further illustrate the connection, Lynch often respond to inquiries about the plot of the film by quoting the Aitareya Upanishad: "We are like the spider. We weave our life and then move along in it. We are like the dreamer who dreams and then lives in the dream. This is true for the entire universe," echoing the film theories of Antonin Artaud.  
    Inland Empire is valuable in an analysis of The Seashell and the Clergyman because both David Lynch and the film illuminate the influence of Dulac's film and Artaud's theory in Surrealist works to the present day.  The techniques Lynch used to create several times and spaces that seem to be mutually exclusive, but interact in strange, irrational ways were first used in The Seashell and the Clergyman: the subconscious obsessions of the “main” character lead him/her into a bizarre dream world where a series of surprising and inexplicable events force the audience to attempt divining meaning from a film that, despite its almost comprehensible content, is essentially meaningless.  The influence of The Seashell and the Clergyman is present in Lynch's film as well as several earlier examples already explored (e.g. Un chien andalou.)  Dulac's film fulfills the theories of Artaud, at least in part, and its influence on Surrealist filmmaking clearly marks it as the first true Surrealist film.

 

Inland Empire. Dir. David Lynch. Perf. Laura Dern and Jeremy Irons. DVD. 2007.

    Ebert's review of Un chien andalou provides both a good analysis of the film to use as a comparison to The Seashell and the Clergyman and a good example of the main arguments put forth in support of Un chien andalou as the first Surrealist film.  According to Ebert, the idea for the film originated from a discussion between Dalí and Buñuel about dreams they had had, prompting them to make a film beginning with images from their dreams.  “In collaborating on the scenario, their method was to toss shocking images or events at one another. Both had to agree before a shot was included in the film. 'No idea or image that might lend itself to a rational explanation of any kind would be accepted,' Bunuel remembered. 'We had to open all doors to the irrational and keep only those images that surprised us, without trying to explain why'” (Ebert).  Ebert also asserts the historical primacy of the film: “It was made in the hope of administering a revolutionary shock to society. 'For the first time in the history of the cinema,' wrote the critic Ado Kyrou, 'a director tries not to please but rather to alienate nearly all potential spectators.'”
    Ebert's review provides much useful information for a comparison of Un chien andalou and The Seashell and the Clergyman and the theories behind them.  To begin with, the technique used by  Dalí and Buñuel in writing their film was quite different than those used by Dulac and those theorized by Artaud.  Ebert argues that Dalí and Buñuel sought to create a film entirely devoid of meaning with no rational connection between any of events or images, essentially a film of pure nonsense.  This varies considerably from Artaud's ideas of creating an experience that betrays a traditional narrative setting (requiring at least some connections between parts of the film) in order to include the spectator in the film.  The goal of  Dalí and Buñuel was to create a film that left the viewer with nothing and no ability to derive meaning from the experience; whereas, Artaud's goal was to force the audience to be a part of the dream world and create interpretations and conclusions on their own.  Additionally, the technique of throwing illogical, surprising images at the audience used by Dalí and Buñuel was a primary technique in Dulac's film as well.  Ebert and Kyrou advocate the uniqueness of Un chien andalou as film's first attempt to alienate an audience, but ignore the attempts of The Seashell and the Clergyman to alienate the audience from identification with the film and many other previous films such as The Cabinet of Dr. Caligari and Impressionist films.  While differences between Un chien andalou and The Seashell and the Clergyman may be noted from their difference in purpose, the theory and techniques used in both originated with Dulac's film.

 

Ebert, Roger. "Un chien andalou (1928)." Rev. of Chicago Sun-Times. Chicago Sun-Times 16 Apr. 2000.

            Flitterman-Lewis's article analyzes the underlying theory of Surrealism as it is manifested in film.  She focuses on The Seashell and the Clergyman directed by Germaine Dulac in 1928 and based on a scenario written by Antonin Artaud (which was based on the dream of a friend, Yvonne Allendy.)  "To be sure, Artaud's selection of Dulac as the person capable of transforming his written text into cinematic images was not arbitrary: both the poet and the filmmaker had long been preoccupied with questions of a visual language...For Dulac, whose Symbolist antecedents led her to regard the cinematic image as the site of a fusion, the film was conceived as a condensation of associations whose gradual accretion of meaning allowed the story to proceed, image by image, in a chain of metaphors.  In direct contrast to this fluid sliding of images, Artaud's conception was based on the Surrealist principles of displacement and dissociative juxtaposition, emphasizing instead the films liberating assault on the continuity system of traditional narrative"  (Flitterman-Lewis 110-1).  Artaud's conception of the Surrealist capabilities of film emphasized immersing the viewer into an experience, as in a dream, that not only affected the viewer on a subconscious level, but also required his or her participation in that experience.  Artaud was dissatisfied with the film, allegedly shouting expletives directed at the film and Dulac herself (who had not allowed Artaud to participate in the artistic direction of the film or offer clarifications of the intentions of his scenario) and participating in the subsequent rioting which forced the showing to end.  Flitterman-Lewis argues that Artaud's frustration was fueled by Dulac's inability to convey more than the material, visual qualities of a dream without creating the experience of a dream.  Although Artaud was disappointed with the final film, he still acknowledged it's status as the first Surrealist film, writing to his editor, “[C]riticism, if there still is such a thing, must recognize the hereditary derivation of all these films [Surrealist films, specifically Buñuel's L'Age d'or and Cocteau's Blood of a Poet], and say that they ALL come from The Seashell and the Clergyman...Seashell was certainly the first film of the genre [Surrealist film], and its precursor" (Flitterman-Lewis 112).

             Artaud's theory of how Surrealism should be established in film offer's a good framework for evaluating whether The Seashell and the Clergyman should be considered the first Surrealist film.  Despite his own misgivings about the film, he considers it to be the first (if Flitterman-Lewis did not take much liberty of judgment in her use of brackets), a good starting point for evaluation.  He advocates the use of juxtaposed, seemingly unconnected images meant to surprise the audience and force them to consider the logical connection (or lack thereof) between those images.  Techniques such as superimposition, split shots, lighting, and editing should be used to break down the constructed materiality of the world into the materiality of the dream world wherein objects flowed into each other and actors.  Indeed these techniques are utilized not only in Dulac's film, but in subsequent Surrealist films such as Un chien andalou, L'Age d'or, and Blood of a Poet as well as modern Surrealist films.

 

Flitterman-Lewis, Sandy. Dada and Surrealist Film. Ed. Rudolf E. Kuenzli. New York: MIT P, 1996. 110-24.

         “12 oz. Mouse” is a modern TV series (although it is not a film, the show is strongly Surrealist and congruent with the techniques and goals of many Surrealist films; additionally, Foster writes that "The surrealists, many of whom were avid film spectators, despised impressionism, but they admired lowbrow American serials and slapstick comedies") about a crudely animated green mouse called by many names including Mouse, Fitz, and Butch and his companion Skillet who do odd jobs for a shark (named Shark) in order to be able to buy more beer.  As the show progresses, other bizarre characters (such as a wealthy businessman named Square, a hitman specializing in archery named Pronto, a peanut-shaped police officer more concerned with his drug habit than maintaing law and order, a character capable of morphing between a male and female representation, and several clocks that perpetually display 2:22) are introduced and what first appears to be a meaningless cartoon world is revealed to be a dream world imposed on people represented by these characters through the use of Asprind (what one is led to believe is a mind-erasing drug) and Time Gas (a drug released by the 2:22 clock in order to freeze time at a single instant in the dream world).  Much of the plot is left unresolved as the show was cancelled after 20 episodes and although another episode (released solely on the internet) was made after the cancellation, the writers opted to start a new chapter of the story rather than writing a conclusion to the show.
           “12 oz. Mouse” uses many methods common to Surrealist film in order to establish an ever-changing dream world through hierarchies of knowledge: upon the first viewing, it is slowly revealed that the world of Fitz is in fact a dream world imposed on him by other characters (represented by Shark and Square); on the second viewing, the viewer is able to pick up on what seemed to be simple passing comments and disconnected statements at first, but are actually clues which reveal that this dream world is actually based on the real world that the characters live in; a third viewing reveals even more of the intensely complex plot, as the viewer is now more aware of the nature of this world and able to notice clues that previously one would not have connected to this world on a higher level.  The show very effectively utilizes many of the techniques used by Surrealist film makers: establishing a normative narrative forum which is then interrupted by the characters, thus breaking character identification.  The show forces the viewer to not only interpret what happens in the show, but to rethink these interpretations upon subsequent viewings when the viewer is equipped with more knowledge of the situation.  Furthermore, because much of the plot is unresolved, the viewer is also forced to fill in certain holes and postulate explanations for unexplained elements.  The same techniques that were first used for this purpose in The Seashell and the Clergyman are utilized in “12 oz. Mouse” to create not just a simple dream world, but an experience which requires participation, consideration, and evaluation from the viewers in a manner that one hopes would garner at least the interest of Antonin Artaud.

 

Maiellaro, Matt. "12 oz. Mouse." Atlanta. 19 June 2005.

“In keeping with the principal tenets of surrealism, Artaud would claim that art is a real experience that goes far beyond human understanding and attempts to reach a metaphysical truth. The artist is always a man inspired who reveals a new aspect of the world” (Fowlie).  Fowlie's biographical account of Artaud's life and his theories of theater reveal much about his beliefs on Surrealism.  In addition to seeing the potential for a new type of theatre in the French movements of his time, Artaud also spent a number of years in a sanitorium and while Fowlie makes no connection between this and Artaud's theory of surrealism, an examination of that theory strongly implies a connection to a confusing world where the interpretations of others did not match what Artaud himself must have been experiencing at the time.  Artaud's theory of Surrealism centered on dream worlds and the idea that art should be a collaboration between artist and viewer, requiring the viewer to play a role in creating the experience as much as the artist does.  Artaud's theory began in theatre and focused on the use of speech and gesticulation as well as the content and scenery of the play: everything played a role in creating the experience. 
    Thus, it is easy to see the jump between Artaud's theory of Surrealist theatre and Surrealist film, both of which contain not only the spatial elements of other forms of art, but temporal elements and the ability to manipulate them.  Film offered one potential advantage over theatre: the ability to control temporal aspects more tightly and cleanly than theatre.  Artaud became devoted to his theory, obsessing over a multitude of things, including the theatre.  “However one interprets the terrifying obsessions of Artaud, they allowed him to see into unusual depths of the human mind, where he claimed the eternal questions on life and death are clearly visible” (Fowlie).  He rebelled against morality and rationality as constructs of humans in a material world and thus obsessed over the dream world where such things did not exist.  These obsessions can be seen in The Seashell and the Clergyman: a priest erotically obsessed with a woman consistently sees her in various situations in his blurred, dimly lit, and confusing dream world.  The obvious immorality of a man sworn to celibacy obsessing over a woman is combined with the irrationality of a dream wherein the man seemingly has no control over the course of events and is subjected to a number of random, inexplicable visions and experiences.

 

Dionysus in Paris. Wallace Fowlie. New York: Meridian Books, Inc., 1960. p. 203-209.

          Erin Foster's article gives a brief history of Surrealism in cinema beginning with the desire of French filmmakers in the avant-garde movement to establish itself against Hollywood, the role of Impressionism and Dada in the years before Surrealist cinema, and then focusing on a few directors (such as Dulac and Buñuel and Dalí) and a few films (such as The Seashell and the Clergyman, Un chien andalou, and later films).  She writes that The Seashell and the Clergyman was the only screenplay of his scenarios that Artaud completed and he deposited it at a film institute because he lacked the money to produce it himself where it was picked up by Dulac.  “The surrealists considered Dulac, who was already well established in the Parisian avant-garde film community, to be strictly impressionist—too loyal to traditions of naturalism and symbolism for their liking” however “Dulac followed Artaud's script closely in her 1928 film, only changing a few practical elements when necessary” (Foster).  Foster comments as well on Artaud's rejection of Dulac's film as “a distortion of his theories on surrealism” but does not mention his subsequent acknowledgement of it as the first Surrealist film.  Foster also adds later that “Though the surrealists themselves rejected the film, most critics today consider La Coquille et le Clergyman to be the first surrealist film”.
         Foster's article adds another layer of complexity to an attempt to discern whether The Seashell and the Clergyman should be considered the first Surrealist film: the rejection of contemporary Surrealists despite it's characterization by modern critics.  The analysis in the works by Flitterman-Lewis and Williams revealed that not only did Dulac's movie fulfill some of the basic elements of Surrealist films, namely in its characterization of a dream as well as its attempt to create a participatory experience for the viewer, it was also accepted as Artaud as the first Surrealist film regardless of his own dissatisfaction with it.  The film satisfies these criteria, but how should the perception of other Surrealists who denied it's status as Surrealist play into this evaluation?  Here Artaud's own reactions should be considered as he was a Surrealist.  His initial rejection of the film is overshadowed by his later acceptance of it (perhaps in the vein of conflicting, surprising messages that permeated Surrealist work) as the first Surrealist film.  Ultimately, the question becomes one of criteria: should the evaluation of modern critics based on theories of Surrealism in art be valued more than the seemingly arbitrary (at the time, Artaud was the only one who had written a somewhat comprehensive theory of Surrealist cinema; see Flitterman-Lewis) evaluation of contemporary Surrealists?  In the end, Artaud's own evaluation based on the methods and goals of later Surrealist films and that of modern critics is more convincing than that of contemporary Surrealists who, as Artaud illustrates, have a conflicting record of what they consider to be Surrealist cinema.

 

Foster, Erin. "Surrealism: Surrealist Film." 2008. Film Reference. 24 Nov. 2008 <http://www.filmreference.com/encyclopedia/romantic-comedy-yugoslavia/surrealism-surrealist-cinema.html>.

“Artaud’s film theory extends directly from his philosophical views. He believed that, in establishing and expanding civilisation, humankind has fabricated a spiritless, material world in which to exist. Consequently, we have repressed our primitive instincts and lost contact with our spiritual senses. With the development of film as a serious art form in 1920s France, Artaud saw an opportunity to hijack the medium, to use it as a tool with which to pierce the ‘skin’ of civilised reality. Thus, Artaud gave his cinema a purpose, outflanking the prized entertainment values of the 1920s film industry” (Jamieson).  Jamieson's article begins with a lengthy analysis of the interaction between Artaud's personal philosophy and his theory of film, exploring both his rejection of cinema's focuses on visual presentation and entertainment as devoid of emotion and purpose and his desire to give film a new purpose as a means of reconnecting with our primitive selves and instincts.  He viewed the world as a material construction of humans and art as a means of deconstructing this world and giving to it a portion of the artist's essence.  He believed that visual representations often failed because they did not retain the energy of the originating thought, but sought a method of avoiding this short-fall through film.
    In his section on The Seashell and the Clergyman, Jamieson provides a clear contextualization of its place in the surrealist film world and establishes it as the basis for later surrealist films: “Artaud’s scenario for The Seashell and the Clergyman set the groundwork for subsequent surrealist film initiatives and was the first to develop many of the æsthetic principles typical of the movement. Reportedly, Buñuel had seen Artaud and Dulac’s film whilst preparing for Un chien andalou and, interestingly, both films share similar cinematic devices. Both films employ disruptive temporal structures that unfold with the fabric of a dream and incorporate visual shocks designed to impact viscerally upon the viewer”.  This provides two important points for an evaluation of The Seashell and the Clergyman's place in film history: first, it establishes a derivative quality to Un chien andalou, argued by many to be the actual first Surrealist film; second, it sets up the unique ability and methods of film that enable Surrealist film makers to create dream worlds and viscerally impact its viewers.  If the debate over which is the first Surrealist film can be reduced to a comparison of The Seashell and the Clergman and Un chien andalou, Jamieson provides a good body of evidence in support of Dulac's film.

 

Jamieson, Lee. "The Lost Prophet of Cinema: The Film Theory of Antonin Artaud." Senses of Cinema Inc. 27 Nov. 2008 .

Grace, Harry A. "Charlie Chaplin's Films and American Culture Patterns."  The Journal of Aesthetics and Art Criticism. 10 (1952): 353-363.

This article reviews several of Chaplin's films including Modern Times to show how they are relevant to the problems of society at the time.  The article reviews the film under the assumption that the major themes of his films are illustrations of American historical events/periods over time. Modern Times (1936) represents the effects of the industrialization period on men.  More specifically Modern Times portrays the job situation for men in the age of technological advancement.  Industrialization led to a different job experience for he working class man.  Large assembly lines became the norm for lower income workers in order to produce mass products by machinery.

This relates to my thesis because it highlights the problem of the job situation workers faced after industrialization.  Assembly lines in large factories lead to a loss of indivduality.  Everyone is doing the same work at the same time for the same amont of time everyday.  We see in the film that assembly lines are monotonous, repetitive, and can lead one to almost go insane (We see Chaplin's character act as though he is working in the assembly line even when he is on a lunch break).  Workers are no longer individuals; they are merely an extension of the machines solely there to create products for profit.

    

    The article “Italian-Americans in Film: From Immigrants to Icons”, written by Carlos E. Cortés takes a detailed look at the progression of immigrants, especially Italian Americans, in cinema throughout history. The article traces the steps of immigrants or minorities and how cinema affected the way in which they were viewed by society.

    From the era of silent films there has been different portrayals of Italian Americans as well as Mexican, Chinese, and African Americans in cinema. These portrayals were often fairly negative however, although Italian Americans were portrayed in a less than favorable light they were significantly better off than the cruel or barbaric depictions of their minority counterparts.

    The concern about increasing alien presence/influence in the U.S. led congress in the 1920’s to pass a series of immigration laws that would restrict the inflow of immigrants. This also led to need to Americanize or at least hide one’s foreignness in pursuit of the American Dream. Gradually Italian-American imagery began to move away from their violent portrayals in films such as Lady in the Lake (1946) or Force of Evil (1948). Due to the popularity of people like Frank Sinatra and Joe Dimaggio, Hollywood began to see the possibilities for the commercialization of ethnicities.

    In “The Godfather”, the new imagery of Italian Americans begins to take shape in the form of characters such as Vito Corleone and Michael Corleone. The transition from Don Vito to Michael can in many ways stand as a great example of the evolution of the imagery of Italian Americans in Cinema. Vito’s character hold much more true to the traditional Italian values whereas Michael served in WWII and is involved with a traditionally “American “ girl, Kay. The transition from Vito to Michael embodies the way people began to view Italian Americans and their struggles to achieve the American dream.

Aristides Gazetas’ Imagining Selves: the Politics of Representation, Film Narrative, and Adult Education" offers a metaphysic perspective of the representation of reality in cinema. In its third chapter, “Film Narratives and Historical Representation”, the author explores the way cinema diffuse precise cultural discourses, or, in other words, what Jean Baudrillard calls a “politics of representation.” As a powerful means of visual information, cinema spreads particular imaginaries: through film narratives, it proposes definitions of cultural identities and the Other. As a result, it heavily influences our way to understand the world.
However, the rise of postmodernist theory (Lyotard) challenges and criticizes the given metanarratives enforced by the mainstream discourse. Postmodernist sensibility suggests a deconstruction of any foundational conceptions of knowledge. It opposes the indoctrination, the imposing of social representations operated by the saturation of rhetoric images hidden in the cinematographic medium. By reformulating the approach to these images, post-structural discourses give way to the complexity and multiplicity of the reality.

“Film Narratives and Historical Representation” provides a theoretical understanding of the articulation of Sweet Sweetback’s Baadasssss Song in its discursive and historical context. The film appears as initiating a new way of cinematic representation which breaks with the positivist dominant discourse. Through a deconstruction of the images of Black people or the use of collage/bricolage (and through maybe its French New Wave influence), Van Peebles opposes the mainstream discourse and frontally displays the complexity of the world. He presents a distinct mode of representation which allows a multiplicity in the interpretation of reality. The director abandons the former “total representation” which “solidify” any identity in a type. If not directly addressing Van Peebles’ production, Gazetas proposes a powerful theoretical perspective on the philosophical stakes raised by Sweet Sweetback’s Baadasssss Song.

Bell Hooks’ “Artistic Integrity : Race and Accountability” deals with racial representation in cinema in a white supremacist aesthetic framework. It begins with the observation of initial inequality between White and Black directors in their subject matters: while White directors seem to be not responsible for their focus on the white world, Black directors constantly need to justify their choices of exclusively black, or whites, subjects.

Like any artists from marginalized groups, Black directors have to find a balance between demonstrations of political and social consciousness and expression of artistry, what Stan Brakhage calls the “aesthetic ecology.” This is particularly difficult, especially for artists who, dealing with a structure of domination, feel pressed to “assume responsibility for producing resisting image.” This appeal is moreover enhanced by the need to fill out the vacuum in the depiction of black subjects.

The threatening phenomenon is the instauration of a racial essentialism which compels artists to obsessionally focus on their environment. As a consequence, there are real difficulties to break with the dominant cinematographic discourse which maintains, even subtly, racist aesthetic and status quo.

In this article, Bell Hooks addresses the tremendous problems faced by directors when trying to escape from a racially defined dominant aesthetics. It provides insight on the difficulties of challenging and reformulating the representation of Black people at the movies. In this sense, it is directly linked to Sweet Sweetback’s Baadasssss Song, which uses stereotypes as a mean to reject the racial paradigms of institutionalized cinema. Van Peebles’ film appears as one of the first attempts to challenge the dominant discourse and propose a rich and transformative alternative aesthetic to the self-reinforcing dominant discourse.

The commission deserves a failing grade for representing the entire region's taxpayers, since Milwaukee is now a "minority-majority city" and most of the state's minority citizens live in the seven-county SEWRPC region (Milwaukee, Waukesha, Washington, Ozaukee, Walworth, Racine and Kenosha).

Rotker asked about five major SEWRPC technical advisory committees, where policy recommendations eventually approved by the full commission are first formulated with help from staff and consultants.

 

This article discusses the way in which Italian-Americans have been portrayed in film within the larger context of minority representation in media.  It begins with a statement regarding the announcement made prior to the first showing on television of the first two Godfather films.  The announcement essentially claimed that no particular ethnicity was being depicted despite the fact that the film was taking place (initially) in Sicily, the family is Sicilian, they all have Italian names, and they were speaking in Italian.

The general representation of Italians was simply that of criminals involved in organized crime through their families.  The disclaimer could have been seen as trying to avoid the kind of media influence the film might have, or simply called attention to it.  In either case, it becomes very clear how extensive the effects media can have on the mind and on the belief systems of people, especially regarding minorities.

Immigrant films began in the early 1900’s often focused around the symbolic Italian as the minority.  “Colored” minorities were met with a very different representation than the mildly funny representations of white minorities, but eventually this changed, and the representations were not nearly as harmless as they had once been.

The crime genre started to get big around the Great Depression.  Essentially, in their pursuit of the American Dream, Italian-Americans and Chinese Americans came to be the front runners in media representations.

The American Dream then quickly became twisted into a search for power and money.  Greed and deception, combined with crime and violence became a center for the stereotypes, particularly of Italian-Americans.  It seemed as though everyone Italian had a tie to organized crime. Ultimately, who became known as victims, and who were the victimizers depended on the time during which they were being depicted.

This article discusses the way in which Italian-Americans have been portrayed in film within the larger context of minority representation in media.  It begins with a statement regarding the announcement made prior to the first showing on television of the first two Godfather films.  The announcement essentially claimed that no particular ethnicity was being depicted despite the fact that the film was taking place (initially) in Sicily, the family is Sicilian, they all have Italian names, and they were speaking in Italian.

The general representation of Italians was simply that of criminals involved in organized crime through their families.  The disclaimer could have been seen as trying to avoid the kind of media influence the film might have, or simply called attention to it.  In either case, it becomes very clear how extensive the effects media can have on the mind and on the belief systems of people, especially regarding minorities.

Immigrant films began in the early 1900’s often focused around the symbolic Italian as the minority.  “Colored” minorities were met with a very different representation than the mildly funny representations of white minorities, but eventually this changed, and the representations were not nearly as harmless as they had once been.

The crime genre started to get big around the Great Depression.  Essentially, in their pursuit of the American Dream, Italian-Americans and Chinese Americans came to be the front runners in media representations.

The American Dream then quickly became twisted into a search for power and money.  Greed and deception, combined with crime and violence became a center for the stereotypes, particularly of Italian-Americans.  It seemed as though everyone Italian had a tie to organized crime. Ultimately, who became known as victims, and who were the victimizers depended on the time during which they were being depicted.