By Susan Boyd
Drug prohibition emerged even as the invention of movie, and their histories intersect in attention-grabbing methods. This e-book examines the ideological assumptions embedded within the narrative and imagery of 1 hundred fictional drug motion pictures produced in Britain, Canada, and the U.S. from 1912 to 2006, together with damaged Blossoms, Reefer insanity, The journey, Superfly, Withnail and that i, Traffik, site visitors, Layer Cake, Harold and Kumar visit White fort, Trailer Park Boys, and extra. Boyd makes a speciality of earlier and modern unlawful drug discourse approximately clients, traffickers, drug remedy, and the intersection of felony justice with counterculture, substitute, and stoner flicks. She presents a socio-historical and cultural criminological point of view, and an research of race, classification and gender representations in unlawful drug movies. This illuminating paintings can be an important textual content for quite a lot of scholars and students within the fields of criminology, sociology, media, gender and women’s reviews, drug reports, and cultural experiences.
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Additional resources for Hooked: Drug War Films in Britain, Canada, and the U.S. (Routledge Advances in CriminologyAY)
Without the approval of the Hays Ofﬁce, Otto Preminger and United Artists (who distributed the ﬁ lm) decided to go ahead anyway and they produced the ﬁ lm. 66 In response to the rigid censor code, United Artists resigned from the Motion Picture Association of America (MPAA), which housed the Hays Ofﬁce. Worried that other studios might resign, the MPAA called a meeting of the studios to discuss the Production Code. By then, The Man with the Golden Arm was playing to sold-out theatres in the United States.
As time passed, new laws were passed to criminalize other drugs, and fears culminated again in the 1960s, when drug use increased and reached middle-class consumers. In Canada, the Opium and Narcotic Act was enacted in 1908 following an anti-Asiatic riot in Vancouver in 1907. The riots were sparked by the economic fears of White labourers towards their Chinese and Japanese counterparts following the completion of the national railway. Mackenzie King, then Canada’s deputy minister of labour, was sent to Vancouver, British Columbia, to settle damages for what the federal government had deﬁ ned as a labour conﬂ ict.
Commissioner of Narcotics H. J. Anslinger and the Federal Bureau of Narcotics, also inadvertently challenged the Motion Picture Production Code by helping to make ﬁlms containing explicit scenes of drug use and selling to further their goals to criminalize certain drugs and to depict drug users and sellers as dangerous. The Legion of Decency, a Catholic group in the United States, also acted to censor ﬁ lms and warn viewers of immoral depictions in ﬁ lm. 22 Hooked From 1934 to 1967, they viewed and censored ﬁ lms that were considered offensive to Catholic viewers.
Hooked: Drug War Films in Britain, Canada, and the U.S. (Routledge Advances in CriminologyAY) by Susan Boyd