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Purpose – This chapter analyses the independent U.S. film Reefer Madness, a fictional full-length feature about marijuana use and selling that has grown in cult status since it was produced in 1936. In addition, this chapter discusses a number of examples of early and contemporary illegal drug films that focus on marijuana, including a short film scene from Broken Flowers (2005).

Methodology – Drawing from critical and feminist criminology, sociology, and cultural studies, this chapter provides an analysis of fictional illegal drug films with a focus on marijuana.

Findings – The significance of a century of film representations that reinforce a link between illegal drug use, immorality, and crime is discussed. It appears that these themes are quite enduring.

Value – It is worthwhile to analyze illegal drug films, not just to explore the stigmatization of users, but to examine the social/political effects of these films, particularly the ways that certain kinds of negative images support drug regulation and its attendant policing.

This study documents the role of relational trust in an afterschool organization and its influences on young people’s experiences.

Through a 10-month ethnographic study of one afterschool program that teaches teens how to make documentaries, I demonstrate that the confluence of blurred organizational goals; weak relational trust among staff; and funding pressures may have the unintended consequence of exploiting students for their work products and life stories.

The study finds that, while not all organizations function with student work at its center, many afterschool organizations are under increasing pressures to document student gains through tangible measures.

Implications from these findings reveal the need for developing strong relationships among staff members as well as establishing transparency in funding afterschool programs from within the organization and from foundations in order to provide quality programming for young people.

This study informs organizational theory, specifically in terms of measures of variation in relational trust within an organization and its influence on young people. This chapter includes student accounts of experiences with staff to enhance the significance of relational trust.

Anatomy of a Murder, a beloved, highly influential, seemingly liberal 1959 classic law-film seems to appropriate some of the fading western genre’s features and social functions, intertwining the professional-plot western formula with a hero-lawyer variation on the classic western hero character, America’s 19th century archetypal True Man. In so doing, Anatomy revives the western genre’s honor code, embracing it into the hero-lawyer law-film. Concurrently, it accommodates the development of cinematic imagery of the emerging, professional elite groups, offering the public the notion of the professional super-lawyer, integrating legal professionalism with natural justice. In the course of establishing its Herculean lawyer, the film constitutes its female protagonist as a potential threat, subjecting her to a cinematic judgment of her sexual character and reinforcing the honor-based notion of woman’s sexual-guilt.

Cultural visibility is closely linked to physical and social mobility, and access to – or denial of – free movement through private and public spaces powerfully shapes individual and social identities. As Liam Kennedy has shown in the context of urban space, “the operations of power are everywhere evident in space: space is hierarchical – zoned, segregated, gated – and encodes both freedoms and restrictions – of mobility, of access, of vision” (2000, pp. 169–170). A consideration of how film articulates a relationship between space and identity might thus begin by breaking down the concept of space itself into three distinct yet interconnected areas of analysis: first, the notion of socially produced space, as shown in the work of Henri Lefebvre and others; second, the idea of audience space or the architectural space of the theater; and finally, the theory of film space or the space of the screen. Given this essay’s limited scope, the latter will be examined in more detail than the first two, but I would like to stress the underlying interconnectedness of the three. While, for example, formalist studies of film aesthetics may be just as valuable as in-depth studies of changing viewing habits, audience demographics, and exhibition technologies, film interpretation should strive to keep in view the variety of spatial formations and conditions that might come to bear on any particular visual text.

This study focuses on how the creation of a new market identity, defined here by the social categories that specify what to expect of products and organizations, helps legitimize normatively illegitimate products and thereby facilitate the formation of markets for these products. A product is given a legitimate market identity by recombining existing product and status categories in a way that is both isomorphic with and differentiated from these preexisting categories. I argue that the creation of a new market identity helped create a market for feature films that combined legitimate comedy and illegitimate pornography following the legalization of pornography in Denmark in 1969. Topological analyses of the cultural content of all the film posters used to promote Danish films between 1970 and 1978, and regression analyses of the status of the actors appearing in these films document the importance of market identity in legitimizing illegitimacy.

In the 1988 film The Accused, a young woman named Sarah Tobias is gang raped on a pinball machine by three men while a crowded bar watches. The rapists cut a deal with the prosecutor. Sarah's outrage at the deal convinces the assistant district attorney to prosecute members of the crowd that cheered on and encouraged the rape. This film shows how Sarah Tobias, a woman with little means and less experience, intuits that according to the law rape victims are incredible witnesses to their own victimization. The film goes on to critique what the “right” kind of witness would be. The Accused, therefore, is also about the relationship between witnessing and testimony, between seeing and the representation of that which was seen. It is about the power and responsibility of being a witness in law – one who sees and credibly attests to the truth of their vision – as it is also about what it means to bear witness to film – what can we know from watching movies.

Cangaço was a form of banditry that occurred in the North-East of Brazil between 1870 and 1940. The movement has inspired many films over the years. This chapter explores the contribution of Cangaço-inspired productions to Brazilian cinema, as well as the particular characteristics of what constitutes the Cangaço genre.

Following a historical survey of the Cangaço, the films were divided into different categories and ranked in terms of relevance. Only the most important are discussed in this chapter.

The Cangaço has been portrayed in Brazilian cinema through the decades in diverse ways, dating back to the 1920s. After becoming a consolidated film genre in the 1950s, then known as Nordestern, the Cangaço finally acquired a proper structure, featuring multiple Western references among its common characteristics. In the 1960s, Glauber Rocha, one of the most prominent filmmakers of the Cinema Novo avant-garde movement, added his own symbolism to the genre. Eventually, the Cangaço was also revisited by directors who combined it with other genres such as comedy, documentary, and erotic films. Another relevant reinterpretation came in the 1990s, when filmmakers of the so-called New Brazilian Cinema offered a new view on the subject.

Despite its strong association with Brazil, the Cangaço has not been thoroughly investigated by researchers. This chapter presents a historical survey and analysis of Cangaço films, highlighting their relevance to Brazilian cinema.