Screening the L.A.P.D. : cinematic representations of policing and discourses of law enforcement in Los Angeles, 1948-2003
This thesis examines cinematic representations of the L.A.P.D. within the context of discourses of law enforcement in Los Angeles and contends that these feature films constitute a significant strand within such discourse. This contention, which is based upon the various identifiable ways in which the films engage with contemporary issues, acknowledges that the nature of such engagement is constrained by the need to produce a commercially viable fictional entertainment. In four main chronological segments, I argue that it is also influenced by the increasing ethnic and gendered diversity of film-makers, by their growing freedom to screen even the most sensitive issues and by the changing racial and spatial politics of Los Angeles. In the 1940s and 1950s, the major studios were prepared to illustrate some disputed matters, such as wire-tapping, but represented L.A.P.D. officers as white paragons of virtue and ignored their fractious relationships with minority communities. In the aftermath of the Watts riot of 1965, racial tensions were more difficult to ignore and, under a more liberal censorship regime, film-makersâled by two independent African American directorsâbegan to depict instances of police racism
Bevan, R.
Screening the L.A.P.D. : cinematic representations of policing and discourses of law enforcement in Los Angeles, 1948-2003. This thesis examines cinematic representations of the L.A.P.D. within the context of discourses of law enforcement in Los Angeles and contends that these feature films constitute a significant strand within such discourse. This contention, which is based upon the various identifiable ways in which the films engage with contemporary issues, acknowledges that the nature of such engagement is constrained by the need to produce a commercially viable fictional entertainment. In four main chronological segments, I argue that it is also influenced by the increasing ethnic and gendered diversity of film-makers, by their growing freedom to screen even the most sensitive issues and by the changing racial and spatial politics of Los Angeles. In the 1940s and 1950s, the major studios were prepared to illustrate some disputed matters, such as wire-tapping, but represented L.A.P.D. officers as white paragons of virtue and ignored their fractious relationships with minority communities. In the aftermath of the Watts riot of 1965, racial tensions were more difficult to ignore and, under a more liberal censorship regime, film-makersâled by two independent African American directorsâbegan to depict instances of police racism
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