DOCSLIB.ORG

Noir Film Festival 2016 18-21/8

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Noir Film Festival 2016 18-21/8 NOIR FILM FESTIVAL 2016 18-21/8 www.noirfilmfestival.cz 4. ročník/4th edition DAY/TIME VENUE TITLE SECTION YEAR,COUNTRY,LENGTH LANG./SUB. PROGRAMME SATURDAY, AUG 20 10.00 am HBO hall L.A. Confidential James Ellroy 1997, USA, 138’ en/cz 10.30 am ODH hall Murderers Among Us German noir 1946, DEU, 81’ de/cz DAY/TIME VENUE TITLE SECTION YEAR,COUNTRY,LENGTH LANG./SUB. 11.00 am KD hall Whirlpool Retrospective 1949, USA, 98’ en/cz 12.15 pm TV hall Discuss. with fest. patrons Accomp. events 45’ cz THURSDAY, AUG 18 12.45 pm ODH hall Ministry of Fear Czechosl. TV noir 1966, CSK, 119’ cz/en 1.00 pm ODH hall Rawhide Noir western 1951, USA, 89’ en/cz 1.00 pm HBO hall The Greene Murder Case Spec. screenings 2002, CZE, 88’ cz 1.30 pm HBO hall Mammon 1st +2 nd part HBO screenings 2015, CZE, 107’ cz 1.15 pm KD hall The Devil Strikes at Night German noir 1957, DEU, 105’ de/cz 3.30 pm ODH hall Possessed Freudian noir 1947, USA, 108’ en/cz 3.30 pm ODH hall Nightmare Alley Freudian noir 1947, USA, 110’ en/cz 4.00 pm HBO hall Cop James Ellroy 1988, USA, 110’ en/cz 3.30 pm HBO hall Suburra HBO screenings 2015, ITA/FRA, 134’ it/cz 6.30 pm HBO hall A Walk Among the Tombstones HBO screenings 2014, USA, 113’ en/cz 3.45 pm KD hall Forty Guns Noir western 1957, USA, 80’ cz/en 7.00 pm ODH hall Where the Sidewalk Ends Retrospective 1950, USA, 95’ en/cz 5.30 pm TV hall Greed Czechosl. TV noir 1978, CSK, 81’ cz 9.15 pm CC Detective Story /OPENING/ Tributes 1951, USA, 103’ en/cz 6.00 pm ODH hall Possessed Freudian noir 1947, USA, 108’ en/cz 6.15 pm KD hall Woman on the Run San Francisco noir 1950, USA, 77’ en/cz FRIDAY, AUG 19 7.30 pm HBO hall Mammon marathon HBO screenings 2015, CZE, 325’ cz 12.00 pm ODH hall Sorry, Wrong Number Czechosl. TV noir 1963, CSK, 32’ cz/en 8.15 TV hall Author reading: Soukupová Accomp. events CZE cz 12.45 pm HBO hall Street Kings James Ellroy 2008, USA, 109’ en/cz 9.15 pm CC Spellbound Freudian noir 1945, USA, 118’ en/cz 1.15 pm ODH hall The Sniper San Francisco noir 1952, USA, 88’ en/cz SUNDAY, AUG 21 2.45 pm KD hall The Dark Past Freudian noir 1948, USA, 75’ en/cz 10.00 am KD hall Vertigo San Francisco noir 1958, USA, 128’ en/cz 3.00 pm HBO hall Veronika Voss German noir 1982, DEU, 104’ de/cz 10.15 am TV hall Ministry of Fear Czechosl. TV noir 1966, CSK, 119’ cz/en 4.30 pm KD hall Winchester ’73 Noir western 1950, USA, 92’ en/cz 10.30 am ODH hall Rawhide Noir western 1951, USA, 89’ en/cz 5.00 pm ODH hall Queen Elizabeth Special screenings 1912, FRA, 44’ en/cz 10.45 am HBO hall A Walk Among the Tombstones HBO screenings 2014, USA, 113’ en/cz 5.15 pm Hell Author reading: Procházka Accomp. events CZE cz 12.45 pm KD hall The Lineup San Francisco noir 1958, USA, 86’ en/cz 6.30 pm RH Ještěrka na slunci Accomp. events 120’ cz 12.45 pm TV hall Sorry, Wrong Number Czechosl. TV noir 1963, CSK, 32’ cz/en 9.15 pm RH Fallen Angel Retrospective 1945, USA, 98’ en/cz 1.00 pm ODH hall Where the Sidewalk Ends Retrospective 1950, USA, 95’ en/cz 1.15 pm HBO hall I, Olga Hepnarová Spec. screenings 2016, CZE/POL/FRA/SVK, 105’ cz/en ODH hall = Olivia de Havilland hall, KD hall = Kirk Douglas hall, RH = Royal hall, CC = Castle courtyard 1.45 pm TV hall Eddie Muller: seminar+discuss. Festival guest 45 + 30’ en 3.30 pm KD hall The Dark Mirror /CLOSING/ Tributes 1946, USA, 85’ en/cz NOIR FILM FESTIVAL 2016 STRANA/PAGE 14–15.
Load more

Recommended publications
  • Classic Noir Pdf, Epub, Ebook
    LA CONFIDENTIAL: CLASSIC NOIR PDF, EPUB, EBOOK James Ellroy | 496 pages | 02 Jun 2011 | Cornerstone | 9780099537885 | English | London, United Kingdom La Confidential: Classic Noir PDF Book Both work for Pierce Patchett, whose Fleur-de-Lis service runs prostitutes altered by plastic surgery to resemble film stars. It's paradise on Earth Best Sound. And while Mickey Cohen was certainly a major player in the LA underworld, the bigger, though less famous, boss was Jack Dragna , who took over mob business after the murder of Bugsy Siegel in Confidential is a film-noir-inspired mystery in vivid colour. Exclusive Features. When for example, did film noir evolve into neo-noir, and what exactly constitutes neo-noir? The film's look suggests how deep the tradition of police corruption runs. The tortured relationship between the ambitious straight-arrow Det. The title refers to the s scandal magazine Confidential , portrayed in the film as Hush-Hush. Confidential Milchan was against casting "two Australians" in the American period piece Pearce wryly noted in a later interview that while he and Crowe grew up in Australia, he is British by birth, while Crowe is a New Zealander. Director Vincente Minnelli. For Myers, that meant working one-on-one with actors to find looks that both evoked the era and allowed audiences to form a meaningful connection with the characters. One of the film's backers, Peter Dennett, was worried about the lack of established stars in the lead roles, but supported Hanson's casting decisions, and the director had the confidence also to recruit Kevin Spacey , Kim Basinger and Danny DeVito.
    [Show full text]
  • 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’
    [Show full text]
  • You Mentioned That Some Scenes from James Ellroy's LA CONFIDENTIAL
    89 FAQ 6 6.1 Q: You mentioned that some scenes from James Ellroy’s L.A. CONFIDENTIAL were filmed inside the Hodel/Franklin House. I didn’t see any. Which ones? Yes, two separate scenes were filmed inside the Franklin House, but if you blink you miss them. George Hodel 1949 David Strathairn as “Pierce Patchett” 90 L.A. CONFIDENTIAL FRANKLIN HOUSE SCENE 1 Scene between Kevin Spacey and James Cromwell (Capt. Dudley Smith) This 1996-7 scene filmed in Hodel-Franklin House kitchen five years before residential interior renovation in 2002 L.A. CONFIDENTIAL FRANKLIN HOUSE SCENE 2 Scene at Franklin House with partygoers (Hookers and tricks) This scene filmed in Hodel-Franklin House living-room in 1996-7 91 Kevin Spacey as detective Sgt. Jack Vincennes holding Pierce Patchett’s Fleur dy Lis business card George Hodel’s “Whatever You Desire” Fleur dy Lis photo album As in CHINATOWN, there are some fascinating coincidences related to the real life George Hodel and the characters in the fictional Ellroy novel, masterfully adapted to film in 1997 by director, Curtis Hanson. First is the character, Pierce Patchett, who not only resembles George Hodel in physical appearance and voice, but is presented in the film as a powerful L.A. behind-the-scenes shadow figure, running a vice operation and working with corrupt cops. Pimp Patchett has high class prostitutes going to cocktail parties and entertaining wealthy and connected businessmen AT THE FRANKLIN HOUSE. (See above clips) Incredibly, this is something that Dr. George Hodel did in real life, at the same location, in the very same room! Patchett’s logo is the Fluer dy Lis, which we see on George Hodel’s private, personal album of loved ones.
    [Show full text]
  • James Ellroy Demon Dog of 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 computer 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 discerning readers a comprehensive set of guides to the world of crime and detective fic- tion. 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: Maurizio Ascari A COUNTER-HISTORY OF CRIME FICTION Supernatural, Gothic, Sensational Pamela Bedore DIME NOVELS AND THE ROOTS OF AMERICAN DETECTIVE FICTION Hans Bertens and Theo D’haen CONTEMPORARY AMERICAN CRIME FICTION Anita Biressi CRIME, FEAR AND THE LAW IN TRUE CRIME STORIES Clare Clarke LATE VICTORIAN CRIME FICTION IN THE SHADOWS OF SHERLOCK Paul Cobley THE AMERICAN THRILLER Generic Innovation and Social Change in the 1970s Michael Cook NARRATIVES OF ENCLOSURE IN DETECTIVE FICTION The Locked Room Mystery Michael Cook DETECTIVE FICTION AND THE GHOST STORY The Haunted Text Barry Forshaw DEATH IN A COLD CLIMATE A Guide to Scandinavian Crime Fiction Barry Forshaw BRITISH CRIME
    [Show full text]
  • Nostalgic Masculinity: Homosocial Desire and Homosexual Panic In
    Nostalgic Masculinity: Homosocial Desire and Homosexual Panic in James Ellroy’s This Storm Nathan Ashman, University of East Anglia Abstract: The second volume in James Ellroy’s ‘Second LA Quartet’, This Storm (2019) offers a complex miscellany of war profiteering, fifth column sabotage, and institutional corruption, all of which is starkly projected against the sobering backdrop of the internment of Japanese- Americans. Whilst presenting Ellroy’s most diverse assemblage of characters to date, the narrative is, nonetheless, principally centred on the intersecting bonds between men. Although the prevalence of destructive masculine authority in Ellroy’s works has been widely discussed, what has often been overlooked are the specifically ‘homosocial’ dimensions of these relationships. Whilst these homosocial bonds are frequently energised and solidified by homophobic violence (both physical and rhetorical), this paper will argue that they are simultaneously wrought by ‘homosexual panic’; the anxiety deriving for the indeterminate boundaries between homosocial and homosexual desire. This panic is expressed most profoundly in This Storm in the form of corrupt policeman Dudley Smith. Haunted by a repressed homosexual encounter, Smith’s paranoid behaviour and increasingly punitive violence derives from his inability to establish clear boundaries between his intense homosocial bonds and latent homosexual desires. Thus, whilst Ellroy’s ‘nostalgic masculinity’ attempts to circumscribe the dimensions and inviolability of male identity, the paranoia and violence that underscores the various machinations of Ellroy’s crooked cops ultimately exposes the fragility of such constructions. Key Words: James Ellroy, Masculinity, Homosocial, Panic, Homosexual The punitive brutality that underlies James Ellroy’s codifications of masculinity has long been a cause of critical contention.
    [Show full text]
  • Mother Night EMILY GORDON
    Mother Night EMILY GORDON posed, to hide. Ellroy’s father, he Writes, MY DRRR PLRCES: An L.R. Crime Memoir. “never told me that sitting in the dark was By James Ellroy. a strange thing to do.” Ellroy spent his life Knopf. 351 pp. $25. doing exactly that. Well known for genre-mixing and efore dhwn on June 22, 1958, James -bending, Ellroy here makes his biggest Ellroy’s mother, Jean, a IC a Geneva leap yet: atrue-crime detective story, an OdeIia Hilliker, was raped, strangled to L.A.’ social history and a kind of romance. death and dumped on an empty road The result is a twisted literary memoir, the in El Monte, California. Ellroy was 10. white-hot spinning of a loner and autodi- what does it mean for a best-selling crime dact. “My father was a liar. My mother was novelist when his mother is a case-a num- a fabricator”; being a Writer, Ellroy’s a liar ber filed in a dusty archive labeled “un- too. For years he set fictional characters in solved”? My Dark Places, a memoir as the historical past, then re-wrote history. much about Ellroy’ s evolution as a writer Confined to the forms of real life, cold facts as it is about his mother and the search for and un-outlinable characters, in My Dark her murderer, takes the sustained anguish Places Ellroy is more powerful than ever. of that experience and builds a monument. Nearly all narratives of our parents It’s as The Redhead that Ellroy imagined his are patchy; we spend our lives assembling connections and explanations.
    [Show full text]
  • Literary Studies
    LITERARY STUDIES NEW BOOKS CATALOGUE 2018-19 ARDEN PERFORMANCE EDITIONS Taking you from page to stage Arden Performance Editions are designed with the practical All needs of actors and drama students in mind, while providing £6.99/ the trustworthy scholarship of the Arden Shakespeare. $9.95 9781474253888 9781474280143 9781474245197 9781474272094 9781474272346 432pp • 216x138mm 360pp • 216x138mm 264pp • 216x138mm 344pp • 216x138mm 408pp • 216x138mm PLAYTEXT “The Arden Performance Editions so far represent a much-needed and important contribution. In such a crowded market, it is remarkable to see editions that feel so fresh, relevant, and necessary.” Studies in Theatre and Performance FACING-PAGE NOTES Watch the series editors introduce the series at bloomsbury.com/ardenperformanceeditions www.bloomsbury.com/arden Arden_PE_catalogue advert_1.0.indd 1 31/05/2018 17:42 This year, Bloomsbury Academic celebrates ARDEN PERFORMANCE EDITIONS Contents our 10th anniversary In our short history, we’ve become an award-winning publisher across the humanities, social sciences and visual arts and combined Literary Studies the incredible publishing histories of Methuen Drama, The Arden Shakespeare, T&T Clark and Fairchild Books in one place. And we’re still growing: I.B. Tauris, a leading publisher in Middle East Studies, Shakespeare and Early Modern Drama ..........2 International Studies, History, Politics and Visual Culture joined Taking you from page to stage Bloomsbury in 2018! Contemporary Literature ..................................11 EBooks Arden Performance Editions are designed with the practical All Individual eBook: available for your e-reader Modernism .......................................................15 Library eBook: available for institution-wide access and also for pdf needs of actors and drama students in mind, while providing £6.99/ sale to individuals See the website for details of vendors, or to purchase individual the trustworthy scholarship of the Arden Shakespeare.
    [Show full text]
  • The Archive in James Ellroy's Fiction
    disClosure: A Journal of Social Theory Volume 27 Archives Article 21 7-2018 A Reckless Verisimilitude: The Archive in James Ellroy’s Fiction Bradley J. Wiles American Public University System DOI: https://doi.org/10.13023/disclosure.27.18 Follow this and additional works at: https://uknowledge.uky.edu/disclosure Part of the Archival Science Commons, and the English Language and Literature Commons This work is licensed under a Creative Commons Attribution-Noncommercial 4.0 License. Recommended Citation Wiles, Bradley J. (2018) "A Reckless Verisimilitude: The Archive in James Ellroy’s Fiction," disClosure: A Journal of Social Theory: Vol. 27 , Article 21. DOI: https://doi.org/10.13023/disclosure.27.18 Available at: https://uknowledge.uky.edu/disclosure/vol27/iss1/21 This Article is brought to you for free and open access by disClosure: A Journal of Social Theory. Questions about the journal can be sent to [email protected] disClosure: A Journal of Social Theory Vol. 27, July 2018 A Reckless Verisimilitude: The Archive in James Ellroy’s Fiction Bradley J. Wiles AMERICAN PUBLIC UNIVERSITY SYSTEM The archive as both plot element and narrative presentation factors significantly into the work of James Ellroy’s novels in the L.A. Quartet and USA Underworld Trilogy series. This article examines the important role of the archive as a source of information and evidence that Ellroy’s characters utilize in their attempts at either maintaining or attacking the status quo. Through these novels, Ellroy conveys the potential power archives wield over the trajectory of history and our understanding of it by demonstrating how the historical record is often shaped in favor of the powerful.
    [Show full text]
  • James Ellroy Demon Dog of 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 computer 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 discerning readers a comprehensive set of guides to the world of crime and detective fic- tion. 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: Maurizio Ascari A COUNTER-HISTORY OF CRIME FICTION Supernatural, Gothic, Sensational Pamela Bedore DIME NOVELS AND THE ROOTS OF AMERICAN DETECTIVE FICTION Hans Bertens and Theo D’haen CONTEMPORARY AMERICAN CRIME FICTION Anita Biressi CRIME, FEAR AND THE LAW IN TRUE CRIME STORIES Clare Clarke LATE VICTORIAN CRIME FICTION IN THE SHADOWS OF SHERLOCK Paul Cobley THE AMERICAN THRILLER Generic Innovation and Social Change in the 1970s Michael Cook NARRATIVES OF ENCLOSURE IN DETECTIVE FICTION The Locked Room Mystery Michael Cook DETECTIVE FICTION AND THE GHOST STORY The Haunted Text Barry Forshaw DEATH IN A COLD CLIMATE A Guide to Scandinavian Crime Fiction Barry Forshaw BRITISH CRIME
    [Show full text]
  • Hammer Museum Fall 2006
    HammerMuseum Fall 2006 Non Profit US Postage 10899 Wilshire Boulevard Los Angeles, California 90024 USA PAID For additional program information: Voice: 310-443-7000 ITT: 310-443-7094 Web: www.hammer.ucla.edu Los Angeles Permit 202 A selection of Clementinefavorites - now available in the HammerCourtyard Open Tuesday through Saturday, 11am to 2:30pm. "Better than homemade" -Los Angeles Times ucdD ] COVER, WOLFGANG TILLMANS. I DON 'T WANT TO GET OVER YOU, 2000. CHROMOGENIC DEVELOPMENT PRINT. COURTESY OF ANDREA ROSEN GALLERY, NEW YORK, AND REGEN PROJECTS, LOS ANGELES. >~ -~ - .:,,• ----- \ °"'' r '.:\ \~ '-._ · ' \ _,. i' ' \ ' ·- ? \ ~ ~ 1( ~"" A Message from the Director A thrilling free summer season, packed with popular courtyard concerts and out­ door movie screenings, has come to a close. For the second consecutive year, the Hammer Museum offered free admissionto all summer happenings, which included the critically acclaimed exhibition The Societe Anonyme: Modernismfor America. Hammer attendance has steadily risen during recent years, and in these past months the Museum welcomed more visitorsthan ever before. This calendar outlines a landmark fall season at the Hammer. We host the fourth annual Gala in the Garden, our elegant fundraising dinner, honoring Joan Didion and John Baldessari; launch Hammer Editions; open e xciting e xhibitions by WolfgangTillmans, Aernout Mik, and others; and present a full range of engaging programs. The quality and influence of our program s was recently underscored when James Bewley, Headof Public Programs, was invited to join a small number of international colleagues at a think tank for cultural programmershosted by the Tate Modern, London. I'm very pleased to announce that the Hammer received a generous $700,000 grant from The James Irvine Foundation's Artistic Innovation Fund to further develop an important aspect of its mission as an artist-centered institution.
    [Show full text]
  • There Are No Good Guys
    There Are No Good Guys Los Angeles in James Ellroy’s LA Quartet Bachelor Thesis Literatuurwetenschap By Jasper Gielkens June/July 2014 Introduction The LA Quartet of James Ellroy (1948) consists of four books. The first, The Black Dahlia (1987)1, can be considered a stand-alone novel, while the later three books, The Big Nowhere (1988), L.A. Confidential (1990), and finally White Jazz (1992), function more or less as a trilogy, sharing one arch enemy: Dudley Smith. They are all set in Los Angeles: nicknamed the ‘City of Angels’ and ‘the Great Wrong Place’. It is my intention to first set the scene by describing some characteristics of typical Los Angeles literature, eventually focusing on Los Angeles crime fiction. By then examining some characteristics of James Ellroy’s Los Angeles in the four novels of the LA Quartet, and comparing these to two other crime novels set in Los Angeles, I hope to further define Ellroy’s L.A.. Finally, through a thorough investigation of the motives of the Quartet’s protagonists, I will argue that Los Angeles in Ellroy’s novels is a place with its own rules about justice. As the books’ collective moniker implies, they should say something about Los Angeles, in the very least about Ellroy’s Los Angeles. The question is: does Ellroy’s L.A. comply with the reigning ideas about Los Angeles literature, and where do the two differ? In my argument I will make extensive use of three studies of Los Angeles (literature): Mike Davis’s City of Quartz (1990), David Fine’s Imagining Los Angeles (2000), and William McClung’s Landscapes of Desire (2000).
    [Show full text]
  • American Fiction Since 1984
    The Pennsylvania State University The Graduate School College of the Liberal Arts ETHICS AND URBAN REALITIES: AMERICAN FICTION SINCE 1984 A Dissertation in English by Sean Moiles © 2011 Sean Moiles Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy December 2011 ii The dissertation of Sean Moiles was reviewed and approved* by the following: Kathryn Hume Edwin Earle Sparks Professor of English Dissertation Adviser Chair of Committee Michael Bérubé Paterno Family Professor in Literature Aldon Nielsen George and Kelly Professor in American Literature Tina Chen Associate Professor of English and Asian American Studies Philip Jenkins Edwin Earle Sparks Professor of the Humanities Mark Morrison Professor of English Department Head *Signatures are on file in the Graduate School. iii ABSTRACT ETHICS AND URBAN REALITIES: AMERICAN FICTION SINCE 1984 When critics and reviewers praise contemporary urban films and television productions, they often do so by comparing these texts to 19th-century realist and naturalist urban novels. David Simon’s HBO series The Wire, for example, has been lauded for its similarities to Dickens’s multilayered and realist vision of London. Unfortunately, these commentaries usually fail to acknowledge developments in contemporary U.S. urban fiction, perhaps in no small degree because much of this fiction explores the experiences of people from a variety of ethnic backgrounds. Ethics and Urban Realities challenges general assumptions about the state of U.S. urban fiction implied in commentaries on The Wire and made more overt in essays such as Tom Wolfe’s “Stalking the Billion-Footed Beast: A Literary Manifesto for the New Social Novel” in which Wolfe blames poststructuralism for the supposed death of the urban novel.
    [Show full text]