The Mysterious Task of Translating the Names of Mystery Subgenres: a Private Eye Investigation
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Parisian Noir
Parisian Noir Kristin Ross riting in 1993, at the height of the “spatial turn” in cultural analysis, Rosalyn Deutsche drew our attention to the way in Wwhich the figure of the urban theorist—her examples are Edward Soja and Mike Davis—had merged with that of the private eye in noir fiction and film. Given that the city is both scene and object of noir investigation, she commented, the analogy between the detective’s disinterested search for the hidden truth of the city and the urban scholar’s critique of the capitalist city practically suggests itself.1 Deutsche does not go so far as to explicitly base her case on the centrality of one city—Los Angeles—to both the urban theory then being produced by Soja and Davis and a noir tradition that includes Raymond Chandler and Chinatown. Yet if the analogy works so seamlessly, it clearly has something to do with the way it springs unbidden from the set of representations, both written and figured, that make up an imaginary particular to Los Angeles. And it is also because an earlier subterranean migration between the two figures—a transfer of practices and point of view—had already laid the groundwork for an understanding of the detective himself as a kind of geographer, engaged in the mapping of social space. The detective as social geographer emerged in early essays by Fredric Jameson, writing about Chandler.2 The spatial paradigm provided by the meeting of Jameson, Chandler and the urban particularities of Los Angeles has largely overdetermined the way in which we read detective fiction. -
Bridging the Voices of Hard-Boiled Detective and Noir Crime Fiction
Christopher Mallon TEXT Vol 19 No 2 Swinburne University of Technology Christopher Mallon Crossing shadows: Bridging the voices of hard-boiled detective and noir crime fiction Abstract This paper discusses the notion of Voice. It attempts to articulate the nature of voice in hard-boiled detective fiction and noir crime fiction. In doing so, it examines discusses how these narrative styles, particularly found within private eye novels, explores aspects of the subjectivity as the narrator- investigator; and, thus crossing and bridging a cynical, hard-boiled style and an alienated, reflective voice within a noir world. Keywords: hard-boiled detective fiction, noir fiction, voice, authenticity Introduction In crime fiction, voice is an integral aspect of the narrative. While plot, characters, and setting are, of course, also instrumental in providing a sense of authenticity to the text, voice brings a sense of verisimilitude and truth to the fiction the author employs. Thus, this paper discusses the nature of voice within the tradition of the crime fiction subgenres of noir and hard-boiled detective literature. In doing so, it examines how voice positions the protagonist; his subjectivity as the narrator-investigator; and, the nature of the hardboiled voice within a noir world. Establishing authenticity The artistic, literary, and aesthetic movement of Modernism, during the late 19th and early 20th Centuries, describes a consciousness of despair, disorder, and anarchy, through ‘the intellectual conventions of plight, alienation, and nihilism’ -
Twentieth- Century Crime Fiction
Twentieth-Century Crime Fiction This page intentionally left blank Twentieth- Century Crime Fiction Lee Horsley Lancaster University 1 3 Great Clarendon Street, Oxford ox2 6dp Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries Published in the United States by Oxford University Press Inc., New York © Lee Horsley The moral rights of the author have been asserted Database right Oxford University Press (maker) First published All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, or under terms agreed with the appropriate reprographics rights organizations. Enquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above You must not circulate this book in any other binding or cover and you must impose this same condition on any acquirer British Library Cataloguing in Publication Data Data available Library of Congress Cataloging in Publication Data Data available ISBN ––– –––– ISBN ––– –––– pbk. -
Postwar Film Noir Romance, and the Undoing of Truth and Subjectivity
“Umjetnost riječi” LIX (2015) • 3–4 • Zagreb • July – December Dijana J E L A Č A (New York City College of Technology) FEMINIST, POSTMODERN, VIOLENT: POSTWAR FILM NOIR ROMANCE, AND THE UNDOING OF TRUTH AND SUBJECTIVITY UDK 791.2.01(73) 791.633Ray, N. This essay asks what happens to hegemonic discourses around gender, identity and subjectivity when the stable frame of reference within which they typically operate shatters under the pressure of cinematic and narrative oversaturation. Through a close analysis of Nicholas Ray’s film noir In a Lonely Place (1950), the article traces the representational undermining of post-WWII Western masculinity, which is revealed to be in a state of perpetual crisis. It shows how sexual difference is depicted as a key element informing the notion of agency, but with a surprising result: instead of the typical hierarchy of classic Hollywood films—in which the woman on the screen occupies a passive to-be-looked-at 309 position (Mulvey 1975)—In a Lonely Place complicates the formula by giving its female protagonist more agency over the narrative than its male anti-hero, thereby marking the film as a provocative feminist text. In later parts of the essay, I focus on the film’s noir features such as narrative loose ends and plot inconsistencies, and what they reveal about the inherent violence of normative forms of storytelling, both cinematic and otherwise. Key words: film noir, Hollywood, cinema, gender, masculinity, femininity, feminism, postmodernism, violence Film noir is a preeminent genre of film, whose influences continually transgress its spatial and temporal origins in 1940s Hollywood. -
Cambridge Companion Crime Fiction
This page intentionally left blank The Cambridge Companion to Crime Fiction The Cambridge Companion to Crime Fiction covers British and American crime fiction from the eighteenth century to the end of the twentieth. As well as discussing the ‘detective’ fiction of writers like Arthur Conan Doyle, Agatha Christie and Raymond Chandler, it considers other kinds of fiction where crime plays a substantial part, such as the thriller and spy fiction. It also includes chapters on the treatment of crime in eighteenth-century literature, French and Victorian fiction, women and black detectives, crime in film and on TV, police fiction and postmodernist uses of the detective form. The collection, by an international team of established specialists, offers students invaluable reference material including a chronology and guides to further reading. The volume aims to ensure that its readers will be grounded in the history of crime fiction and its critical reception. THE CAMBRIDGE COMPANION TO CRIME FICTION MARTIN PRIESTMAN cambridge university press Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, São Paulo Cambridge University Press The Edinburgh Building, Cambridge cb2 2ru,UK Published in the United States of America by Cambridge University Press, New York www.cambridge.org Informationonthistitle:www.cambridge.org/9780521803991 © Cambridge University Press 2003 This publication is in copyright. Subject to statutory exception and to the provision of relevant collective licensing agreements, no reproduction of any part may take place without the -
Deviance in Contemporary Crime Fiction
Crime Files Series General Editor: Clive Bloom Since its invention in the nineteenth century, detective fiction has never been more popular. In novels, short stories, films, radio, television and now in com- puter games, private detectives and psychopaths, prim poisoners and over- worked cops, tommy gun gangsters and cocaine criminals are the very stuff of modern imagination, and their creators one mainstay of popular consciousness. Crime Files is a ground-breaking series offering scholars, students and discern- ing readers a comprehensive set of guides to the world of crime and detective fiction. Every aspect of crime writing, detective fiction, gangster movie, true- crime exposé, police procedural and post-colonial investigation is explored through clear and informative texts offering comprehensive coverage and theoretical sophistication. Published titles include: Hans Bertens and Theo D’haen CONTEMPORARY AMERICAN CRIME FICTION Anita Biressi CRIME, FEAR AND THE LAW IN TRUE CRIME STORIES Ed Christian (editor) THE POST-COLONIAL DETECTIVE Paul Cobley THE AMERICAN THRILLER Generic Innovation and Social Change in the 1970s Christiana Gregoriou DEVIANCE IN CONTEMPORARY CRIME FICTION Lee Horsley THE NOIR THRILLER Merja Makinen AGATHA CHRISTIE Investigating Femininity Fran Mason AMERICAN GANGSTER CINEMA From Little Caesar to Pulp Fiction Linden Peach MASQUERADE, CRIME AND FICTION Criminal Deceptions Susan Rowland FROM AGATHA CHRISTIE TO RUTH RENDELL British Women Writers in Detective and Crime Fiction Adrian Schober POSSESSED CHILD NARRATIVES IN LITERATURE AND FILM Contrary States Heather Worthington THE RISE OF THE DETECTIVE IN EARLY NINETEENTH-CENTURY POPULAR FICTION Crime Files Series Standing Order ISBN 978-0–333–71471–3 (hardback) 978-0–333–93064–9 (paperback) (outside North America only) You can receive future titles in this series as they are published by placing a standing order. -
The Suitcase / Slicing Through Noir Fiction
Slicing Through Noir Fiction Volume 2: Exegesis Heath Nash An Exegesis on the novel ‘The Suitcase’ Submitted as part of the requirement for the degree of Doctor of Philosophy in Creative Writing Discipline of English and Creative Writing! School of Humanities University of Adelaide! November 2014 1 Table of Contents Abstract ................................................................................................................................. 3 Statement of originality ...................................................................................................... 4 INTRODUCTION ............................................................................................................... 5 PART 1 - NOIR .................................................................................................................... 8 Film to fiction or fiction to film? ................................................................................................. 9 The problematic naming of noir ............................................................................................... 15 Separating Noir Fiction from Hardboiled fiction ................................................................. 18 PART 2 – Violence, existentialism, and fatalism in No Country for Old Men ...... 23 PART 3 – The Wasp Factory ........................................................................................... 47 PART 4 – The faux-journalist. The interview. ............................................................ 61 BIBLIOGRAPHY ............................................................................................................ -
The Philosophy of Film Noir
University of Kentucky UKnowledge American Popular Culture American Studies 1-27-2005 The Philosophy of Film Noir Mark T. Conard Marymount Manhattan College Click here to let us know how access to this document benefits ou.y Thanks to the University of Kentucky Libraries and the University Press of Kentucky, this book is freely available to current faculty, students, and staff at the University of Kentucky. Find other University of Kentucky Books at uknowledge.uky.edu/upk. For more information, please contact UKnowledge at [email protected]. Recommended Citation Conard, Mark T., "The Philosophy of Film Noir" (2005). American Popular Culture. 19. https://uknowledge.uky.edu/upk_american_popular_culture/19 Conard The Philosophy of Film Noir Continued from front flap FILM/PHILOSOPHY The Philosophy Opening with an examination of what The constitutes noir cinema, the book of Film Noir interprets the philosophical elements Edited by Mark T. Conard consistently present in the films— “The Philosophy of Film Noir is an intellectually seductive, hard- Foreword by Robert Porfirio themes such as moral ambiguity, reason boiled romp through a world of moral murkiness, femme fatales, versus passion, and pessimism. The Philosophy contributors to the volume also argue and desperately lonely protagonists. The philosophers in this A drifter with no name and no past, that the essence and elements of noir easy-to-read collection provide us with a colorful backdrop for driven purely by desire, is convinced have fundamentally influenced movies seeing the dark films with clearer eyes.” of by a beautiful woman to murder her outside of the traditional noir period. husband. -
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A Fairy-Tale Noir: Rewriting Fairy Tales into Feminist Narratives of Exposure Danila Cannamela Penso che ci sono tanti mondi uno dentro l’altro. Ogni mondo non sa che esistono gli altri. I mondi stanno uno dentro l’altro ma non si toccano e nes- suno può sapere cosa succede in tutti i mondi, ma sa solo quello che succede nel mondo che abita. È come nelle favole: Barbablù non può uscire dalla sua favola e sposare Babayaga e vivere felice con lei che sono anime gemelle. Sono mondi diversi, ma tutti nello stesso libro delle favole sanguinarie. (Nicoletta Vallorani, Cordelia 67) The arche-lithic is the twisted space of causality it- self since the realm of faerie is the realm of fate […]. We aren’t there yet, but it does appear at this level as if some arche-lithic pixie dust is fogging our dualis- tic, anthropocentric spectacles. (Timothy Morton, Dark Ecology 135) Abstract: This article introduces the fairy-tale noir, a subgenre of fantasy-noir fiction that is particularly present in the work of Italian women writers, including Laura Pugno, Simona Vinci, Nicoletta Vallorani, and Alda Teodorani. This subgenre adopts fairy-tale topoi and characters to elaborate on the theme of vulnerability from feminist and environmental perspectives. Vulnerability is an intrinsic feature of fairy tales (texts that are continually performed and modified, but that remain “non-appropriable”); it is also a pivotal characteristic of the young protagonists of these fictional universes, who are often exposed to abuse. The twenty-first-century fairy-tale noir redeploys the discourse of bodily exposure typical of traditional fairy tales by engaging in an environmentalist reflection Quaderni d’italianistica, Vol. -
Investigating Italy's Past Through Historical Crime
INVESTIGATING ITALY’S PAST THROUGH HISTORICAL CRIME FICTION, FILMS, AND TV SERIES Murder in the Age of Chaos B P ITALIAN AND ITALIAN AMERICAN STUDIES AND ITALIAN ITALIAN Italian and Italian American Studies Series Editor Stanislao G. Pugliese Hofstra University Hempstead , New York, USA Aims of the Series This series brings the latest scholarship in Italian and Italian American history, literature, cinema, and cultural studies to a large audience of spe- cialists, general readers, and students. Featuring works on modern Italy (Renaissance to the present) and Italian American culture and society by established scholars as well as new voices, it has been a longstanding force in shaping the evolving fi elds of Italian and Italian American Studies by re-emphasizing their connection to one another. More information about this series at http://www.springer.com/series/14835 Barbara Pezzotti Investigating Italy’s Past through Historical Crime Fiction, Films, and TV Series Murder in the Age of Chaos Barbara Pezzotti Victoria University of Wellington New Zealand Italian and Italian American Studies ISBN 978-1-137-60310-4 ISBN 978-1-349-94908-3 (eBook) DOI 10.1057/978-1-349-94908-3 Library of Congress Control Number: 2016948747 © The Editor(s) (if applicable) and The Author(s) 2016 This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifi cally the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfi lms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. -
European Journal of American Studies, 16-1 | 2021 David Goodis’S Noir Fiction: the American Dream’S Paralysis 2
European journal of American studies 16-1 | 2021 Spring 2021 David Goodis’s Noir Fiction: The American Dream’s Paralysis Robert Lance Snyder Electronic version URL: https://journals.openedition.org/ejas/16718 DOI: 10.4000/ejas.16718 ISSN: 1991-9336 Publisher European Association for American Studies Electronic reference Robert Lance Snyder, “David Goodis’s Noir Fiction: The American Dream’s Paralysis”, European journal of American studies [Online], 16-1 | 2021, Online since 13 May 2021, connection on 08 July 2021. URL: http://journals.openedition.org/ejas/16718 ; DOI: https://doi.org/10.4000/ejas.16718 This text was automatically generated on 8 July 2021. Creative Commons License David Goodis’s Noir Fiction: The American Dream’s Paralysis 1 David Goodis’s Noir Fiction: The American Dream’s Paralysis Robert Lance Snyder There’s no success like failure, And … failure’s no success at all. —Bob Dylan, “Love Minus Zero/No Limit,” Bringing It All Back Home (1965) 1 Dating from two years before David Goodis’s death at age 49, the above epigraph encapsulates this writer’s dark vision in 17 novels published between 1946 and 1967. His first effort, Retreat from Olivion (1939), fails to qualify as part of the defining oeuvre by being “a Hemingwayesque study of the infidelities of two couples set against the backdrop of wars in Spain and China” (Schmid, “David Goodis” 158). Negative reviews apparently led Goodis to decide that his aspirations for acceptance as a “serious” author were unrealistic. Seven years later, after churning out as many as 10,000 words a day for pulp magazines, he released Dark Passage (1946) in hardback after its serialization in The Saturday Evening Post. -
Reinventing Noir Fiction for the 21St Century
Dark Side of the American Dream - Reinventing Noir Fiction for the 21st Century The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Carter, William Francis. 2013. Dark Side of the American Dream - Reinventing Noir Fiction for the 21st Century. Master's thesis, Harvard University, Extension School. Citable link https://nrs.harvard.edu/URN-3:HUL.INSTREPOS:37367534 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Dark Side of the American Dream—Reinventing Noir Fiction for the 21 st Century: An Introductory Essay and a Work of Original Fiction William F. Carter A Thesis in the Field of Literature and Creative Writing For the Degree of Master of Liberal Arts in Extension Studies Harvard University May 2013 Abstract The critical essay portion of my thesis provides an overview and analysis of classic noir fiction. The essay explores Dashiell Hammett’s groundbreaking work in the early twentieth century and takes into account the further evolution of the genre with Richard Stark’s hard-boiled caper in the Sixties and the more recent expansion of noir as evidenced by the works of Dennis Lehane. Characters such as tough private eye Sam Spade, the relentless thief Parker, and laconic investigator Patrick Kenzie illustrate important aspects of noir and their impact on my writing. My novel Poor Man’s Lincoln draws from classic noir fiction in its use of characters and setting.