No society is without crime, prompting Nathaniel Hawthorne's narrator to make his famous statement in "The Scarlet Letter "that, however high its hopes are, no civilization can fail to allot a portion of its soil as the site of a prison. Crime has also been a prevailing, common theme in films that call us to consider its construction: How do we determine what is lawful and what is criminal? And how, in turn, does this often hypocritical distinction determine society?
Film, argues Carl Freedman, is an especially fruitful medium for considering questions like these. With" Versions of Hollywood Crime Cinema," he offers a series of critical readings spanning several genres. From among the mob movies, Freedman focuses on Francis Ford Coppola's "Godfather" trilogy--arguably the foremost work of crime cinema--crafting a convincing argument that the plot's action is principally driven by the shift from Sicily to America, which marks the shift to a capitalist society. Turning his attention to other genres, Freedman also looks at film noir and Westerns, in addition to films for which crime is significant but not central, from horror movies like Stanley Kubrick's "The Shining" to science fiction and social realist films like "The Grapes of Wrath." In recent years, television has welcomed innovative works like "Boardwalk Empire, The Wire," and "The Sopranos," and Freedman discusses how television's increasingly congenial creative environment has allowed it to turn out productions whose ability to engage with these larger social questions rivals that of films from the height of cinema's Golden Age.

The fundamental argument of this book is, first, that Richard Nixon, though not generally regarded as a charismatic or emotionally outgoing politician like Franklin Roosevelt or Ronald Reagan, did establish profound psychic connections with the American people, connections that can be detected both in the brilliant electoral success that he enjoyed for most of his career and in his ultimate defeat during the Watergate scandal; and, second and even more important, that these connections are symptomatic of many of the most important currents in American life. The book is not just a work of political history or political biography but a study of cultural power: that is, a study in the ways that culture shapes our politics and frames our sense of possibilities and values. In its application of Marxist, psychoanalytic, and other theoretical tools to the study of American electoral politics, and in a way designed for the general as well as for the academic reader, it is a new kind of book.

Perhaps no current filmmaker has made more provocative films about American history than Oliver Stone. In this book, Carl Freedman gives a detailed and nuanced account of the presidencies of John F. Kennedy, Richard Nixon and George W. Bush as fictionalized in Stone's biographical films JFK, Nixon and W. Offering detailed historical perspectives alongside careful aesthetic criticism, Freedman explores how Stone uses melodrama, tragedy and farce to transform politics into national mythology. Synthesizing film criticism with political and historical analysis, the book transcends the limitations of formalism and empiricism, reflecting on both Stone's achievements as a filmmaker and American politics of the past sixty years. Oliver Stone's importance among filmmakers as the major chronicler of recent US history is the starting point for the analysis of his three 'presidential' films: JFK, Nixon and W. While not claiming equal artistic merit for Stone's films, Freedman makes some comparison with Shakespeare's history plays and draws on T.S. Eliot's notion of 'essential history' to transcend the barren dichotomy of formalism versus empiricism - that is treating historical fiction as either only pure fiction, with nothing to say about real history, or judging it as non-fiction by the extent to which it adheres to superficial historical detail. Instead the focus is on the capacity of Stone's films to illuminate the structural workings of history, contemporary and general. Freedman is thoroughly familiar with his subject, and his meticulous attention to historical accuracy and critical attention to the films is impeccable. This book has a powerfully original focus and makes a significant contribution to the field through offering these detailed historical perspectives alongside much more careful aesthetic criticism of the films. It has the potential to become not only a great source on its subject, but a model of how to approach historical fiction in general. This is an academic study but is written in such an accessible style that it will have genuine appeal to the general reader - to anyone with an interest in cinema, politics and recent history. Wide-ranging, accessible and highly original, American Presidents combines erudition and complex analysis with jargon-free writing and is sure to engage anyone interested in the intersection of American politics and cinema. The academic readership will be among humanities scholars and students of film, popular culture, media, politics, political history and modern history. It will be highly relevant to undergraduate and postgraduate students studying film or modern American history and culture.