If you thought standing in line at your local warehouse store was murder, then you haven't been to Megamart. From over 40 authors come flash fiction tales of superstore madness and mayhem that will make you think twice the next time you hear "clean up on aisle 13." In addition to new and emerging authors this anthology also contains stories from legends such as Ed Gorman and Sandra Scoppettone.
Lucidly written, Film Noir is an accessible informative and stimulating introduction that has a broad appeal to undergraduates, cineastes, film teachers and researchers.Film Noir is an overview of an often celebrated, but also contested, body of films. It discusses film noir as a cultural phenomenon whose history is more extensive and diverse than American black and white crime thrillers of the forties. An extended Background Chapter situates film noir within its cultural context, describing its origin in German Expressionism, French Poetic Realism and in developments within American genres, the gangster/crime thriller, horror and the Gothic romance and its possible relationship to changes in American society.
For this was the summer when, after the hiatus of the Second World War, French critics were again given the opportunity to view films from Hollywood. The films they saw, including The Maltese Falcon, Double Indemnity. Laura, Murder, My Sweet, and The Woman in the Window, prompted the naming and theorization of a new phenomenon: film noir. Much of what has been written about the genre since has remained within the orbit of this preliminary assessment. While sympathetic towards the early French critics, this collection of original essays attempts to move beyond their first fascinated look. Beginning with an autonomy of that look—of the 'poujadist' climate that nourished it and the imminent collapse of the Hollywood studio system that gave it its mournful inflection—Shades of Noir re-explores and calls into question the object first constructed by it. The impetus for this shift in perspective comes from the films themselves, viewed in the light of contemporary social and political concerns, and from new theoretical insights. Several contributions analyze the re-emergence of noir in recent years, most notably in the hybrid forms produced in the 1980s by the merging of noir with science fiction and horror, for example Blade Runner and Angel Heart, and in films by black directors such as Deep Cover, Straight out of Brooklyn, A Rage in Harlem and One False Move. Other essays focus on the open urban territory in which the noir hero hides out; the office spaces in Chandler, and the palpable sense of waiting that fills empty warehouses, corridors and hotel rooms. Finally, Shades of Noir pays renewed attention to the lethal relation between the sexes; to the femme fatale and the other women in noir. As the role of women expands, the femme fatale remains deadly, but her deadliness takes on new meanings. Contributors: Janet Bergstrom, Joan Copjec, Elizabeth Cowie, Manthia Diawara, Frederic Jameson, Dean MacCannel, Fred Pfeil, David Reid and Jayne L. Walker, Marc Vernet, Slavoj Zizek.
When 'Kinky Winky' bondage models Magenta and Lucretia hear of fellow models disappearing at an alarming rate, they volunteer to investigate. Together they uncover a heady world of bondage, blackmail and double-crossing, as they head further and further into the underworld of 1930s London. This is a cheeky, risque adventure with plenty of tease and sleaze, without going too far overboard. Plenty of naughty thrills and an involving storyline make this a classy addition to the burgeoning Eurotica series.
The Unspeakable: Representations of Trauma in Francophone Literature and Art is situated at the crossroads of language, culture and genre; it contends that suffering transcends time, space and cultural specificity. Even when extreme trauma is silenced, it often still emerges in surprising and painful ways. This volume draws together examples from throughout the Francophone world, including countries such as Algeria, Morocco, Lebanon, Rwanda, Cameroon, Congo, Côte d’Ivoire, Haiti, New Caledonia, Quebec and France, and across genres such as autobiography, poetry, theater, film, fiction and visual art to provide a cohesive analysis of the representation of trauma. In addition to the survivors’ expression of trauma, the witnesses and receivers are also taken into account. By gathering studies that explore diverse bodily and psychological traumas through tropes such as repetition, silence and working-through, it tackles ethical responsibility and interrogates how expressive forms evoke a terrible reality through the use of imagination. The aim of this volume is not to question if suffering is representable, but rather to examine to what extent art surpasses its own limitations and goes straight to its essence. The Unspeakable hopes to provide models for the cultural translation of trauma, because, when represented and released from silence and isolation, trauma can give way to the arduous process of healing.
A collection of extraordinary riveting and thought provoking stories from Edgar and Anthony award nominee Patricia Abbott that explore the dark side of human behavior. A daughter finds a way to save a mother who no longer knows her name. A father eases his grief through an act of kindness that few will judge kindly. A savvy realtor closes her deal in an unexpected way. Asociety of women fares little better than their forbearers. An uxorious husband finds the limits of his love. These and more stories will bring you into the deepest, darkest corridors of the heart, leaving you breathless with suspense and in awe of the incredible storytelling ability of Patricia Abbott.
Nominated for the Edgar Award and the Anthony Award Violet Hart is a photographer who has always returned to cobble out a life for herself in the oddly womblike interiors of Detroit. Nearing forty, she’s keenly aware that the time for artistic recognition is running out. When her lover, Bill, a Detroit mortician, needs a photograph of a body, she agrees to takes the picture. It’s an artistic success and Violet is energized by the subject matter, persuading Bill to allow her to take pictures of some of his other “clients,” eventually settling on photographing young, black men. When Violet’s new portfolio is launched, she quickly strikes a deal, agreeing to produce a dozen pictures with a short deadline, confident because dead bodies are commonplace in Detroit and she has access to the city’s most prominent mortician. These demands soon place Violet in the position of having to strain to meet her quota. As time runs out, how will Violet come up with enough subjects to photograph without losing her soul or her life in the process? A riveting novel of psychological suspense, Patricia Abbott continues to cement herself as one of our very best writers of the darkness that lies within the human heart.
