Dirty Harry S America

“Street provides a crucial critical and cultural service by not only studying Eastwood’s individual films in sharp detail but also by providing a close and serious analysis of the cultural and historic times of the films.”—Sam B. Girgus, author of Clint Eastwood’s America “By far the most comprehensive, sustained, and detailed discussion of the Dirty Harry phenomenon. A thorough and engaging account of how a fictitious renegade cop became an enduring icon of the angry conservative backlash that sought to halt 1960s liberalism in its tracks.”—Nick Heffernan, author of Culture, Environment and Ecopolitics Clint Eastwood’s Dirty Harry became the prototype for a new kind of movie cop—an antihero in pursuit of his own vision of justice. The Dirty Harry series helped cement Eastwood and his character, Harry Callahan, as central figures in 1970s and 1980s Hollywood cinema. In Dirty Harry’s America, Joe Street argues that the movies shed critical light on the culture and politics of the post-1960s era and locates San Francisco as the symbolic cultural battleground of the time. Across the entire series, conservative anger and moral outrage confront elitist liberalism and moral relativism. Paying particular attention the films' representation of crime, family and community, sexuality, and race, Street maintains that through referencing real events and political struggles, the films themselves became active participants in the culture wars. Unapologetic carrier of right and might, Harry Callahan becomes America’s Ur-conservative: “unbending, moral, incorruptible, and most important, always right.” Long after the series, Callahan’s legacy remains strong in American political discourse, cinema, and pop culture, and he continues to shape Eastwood’s later political and cinematic career.

Street argues that depictions of tough-on-crime character Harry Callahan, in multiple ways and over the course of five films, embodied the growing disagreements with twentieth-century postwar liberal policies that were supposedly promoting moral decay in contemporary American society.

Police in America provides students with a comprehensive and realistic introduction to modern policing in our society. Utilizing real-word examples grounded in evidence-based research, this easy-to-read, conversational text helps students think critically about the many misconceptions of police work and understand best practices in everyday policing. Respected scholar and author Steven G. Brandl draws from his experience in law enforcement to emphasize the positive aspects of policing without sugar-coating the controversies of police work. Brandl tackles important topics that center on one question: “What is good policing?” This includes discussions of discretion, police use of force, and tough ethical and moral dilemmas—giving students a deeper look into the complex issues of policing to help them think more broadly about its impact on society. Students will walk away from this text with a well-developed understanding of the complex role of police in our society, an appreciation of the challenges of policing, and an ability to differentiate fact from fiction relating to law enforcement.

This authoritative set provides a comprehensive overview of issues and trends in crime, law enforcement, courts, and corrections that encompass the field of criminal justice studies in the United States. This work offers a thorough introduction to the field of criminal justice, including types of crime; policing; courts and sentencing; landmark legal decisions; and local, state, and federal corrections systems—and the key topics and issues within each of these important areas. It provides a complete overview and understanding of the many terms, jobs, procedures, and issues surrounding this growing field of study. Another major focus of the work is to examine ethical questions related to policing and courts, trial procedures, law enforcement and corrections agencies and responsibilities, and the complexion of criminal justice in the United States in the 21st century. Finally, this title emphasizes coverage of such politically charged topics as drug trafficking and substance abuse, immigration, environmental protection, government surveillance and civil rights, deadly force, mass incarceration, police militarization, organized crime, gangs, wrongful convictions, racial disparities in sentencing, and privatization of the U.S. prison system.

Dirty, Harry Callahan burst onto the scene in 1971. A tough, get the job done, San Francisco Homicide Detective. Harry had his own style of policing and got results. A number of villains tried to finish him, in a variety of ways. Harry proved to be more resourceful and resilient than any imagined. Unfortunately, he became a liability for the changing face of law enforcement and was side-lined 25 years ago. The story begins with Harry briefly, reviewing what little he has done with himself, since leaving the force. An unexpected knock at his front door, from an old Partner, Chico Gonzalez, leads to a job offer with the US Government. Harry was politically incorrect, at the best of times in the 1970's. His methods always led to problems. The events in Ferguson Missouri 2014 would have been considered tame, compared to those Harry brought to the streets he worked in San Francisco. As a man, well past retirement age, he accepts the job at the Department of State. The consultancy work in the Middle East, reviewing large American Corporate's security protocols. Advising them in the regions, surrounding the many trouble spots, is meaningful and fulfilling for Harry. An incident on a flight from Pakistan is cast and unfolds in much the same way, as his first act of extreme violence in the Dirty Harry Movie. The scenario is in keeping with the current problems in the Middle East. The final outcome is dictated by different beliefs and circumstance. Harry always gets the dirty jobs. The willingness to act outside of the law, to do what is required for the greater good, at the expense of Politically Correctness and accepted civilised behaviour, was nothing new to Harry. It was all about deniability for the President. The Americans would always get the blame, unless they could convince their friends and enemies they weren't involved. Harry's record spoke for itself, he had always operated off the reservation. He was uncontrollable then and now. And he could be thrown to the wolves if it suited. The old Soviet device went missing in 1997. Abu Bakr took the torch from Abu Musad. The organisation had placed its best people in key positions. The bomb had moved slower than could be seen. So slow it appeared not to exist. The brothers were the final piece of the puzzle, they had worked for ten years to make one moment happen. New York had been hit once, they would hit it again; this time would be final. It would destroy an ideal, a way of life, the end of the American dream. It would be the greatest triumph in history. The delivery mechanism was the ultimate act of deception and planning the old men of the desert had ever put together. Harry would have to break all the rules, if he was to find the slightest thread to follow.

Rather than assuming that film and the media tell us little about the reality of criminological phenomena, "Gothic criminology," as instantiated in this collection of essays, recognizes the complementarity of critical academic and aesthetic accounts of deviant behavior as intersecting with the public policy in complex, non-reductive ways.".

Featuring color photographs of movie locations, sites, and landmarks, this guide for film buffs and travel lovers provides information about notable scenes from nearly 200 movies shot throughout North and South America. Report a fire at the hook & ladder company #8 if you want to see Ghostbusters' headquarters in New York City. When in San Francisco, stop for a cup of coffee at the café where Steve McQueen's Bullit meets an informant. Bring your own box of chocolates to Chippewa Square, Savannah, and reenact the iconic scenes from Forrest Gump. Visit the Marine Building in Vancouver and be transported to Clark Kent's employer, the Daily Planet, in Smallville. Find out what part of Puerto Rico posed for The Lord of the Flies, why Madonna evaded Argentina when playing Eva Peron, and much, much more.

This expansive three-volume set investigates racial representation in film, providing an authoritative cross-section of the most racially significant films, actors, directors, and movements in American cinematic history. Hollywood has always reflected current American cultural norms and ideas. As such, film provides a window into attitudes about race and ethnicity over the last century. This comprehensive set provides information on hundreds of films chosen based on scholarly consensus of their importance regarding the subject, examining aspects of race and ethnicity in American film through the historical context, themes, and people involved. This three-volume set highlights the most important films and artists of the era, identifying films, actors, or characterizations that were considered racist, were tremendously popular or hugely influential, attempted to be progressive, or some combination thereof. Readers will not only learn basic information about each subject but also be able to contextualize it culturally, historically, and in terms of its reception to understand what average moviegoers thought about the subject at the time of its popularity—and grasp how the subject is perceived now through the lens of history.