The gangster genre, since its early developments in films such as Scarface (Howard Hawks, 1934) all the way to Goodfellas (martin Scorsese, 1990) and beyond is both a celebration and critique of American capitalism and therefore, it is evident that any representations of gender are influenced by such ideologies. As a fictional genre, Robert Warshow (1948) 1 argued that the gangster film has no recourse to reality, but it is evident that its close thematic connections to the socio-economic and political landscape of modern America means it does not operate entirely in fantasy. The gangster genre is distinct from other crime films in its focus on crime as an ongoing business.
In consequence, this article will argue that television provides the more appropriate structure for women to establish central roles in the gangster genre. Modern television’s more complex and expansive narratives have proven themselves equipped to break the genre’s connection to pure capitalism and able to explore the more disruptive influence of neoliberal ideologies. It will argue that while cinema remains limited, there is hope for women gangsters in recent developments in television serials. This article explores the reasons behind this continued gender bias by examining the film genre’s deep-rooted connection to pure capitalism, an ideology solidified in America in the 1950s, mythologised in Francis Ford Coppola’s The Godfather (1972) and reinforced in countless gangster films since. Along with the Western, the American gangster film is one of the least progressive genres of the modern era in terms of female agency and representation, and as a consequence the representation of la cosa nostra (‘this thing of ours’) in cinema remains steadfastly male. However, in comparison, realist genres still often struggle to provide leading roles for women. As a result, some areas of the science fiction and superhero genre, with their focus on non-realist or post-civilised worlds, have embraced more progressive female representation.
Concurrently, the #MeToo movement has increased scrutiny on casting and narrative decisions with a push for more female involvement across all media and social spheres. Female superheroes, cops, criminals and combat soldiers are peppering modern American cinema in high-profile films such as Wonder Woman (Patty Jenkins, 2017) and Captain Marvel (Anna Boden and Ryan Fleck, 2019). The ever-present call for Hollywood to deliver a more diverse range of protagonists has been answered in recent years with some significant developments.
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