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Jim Thompson’s The Killer Inside Me and the Crooked Game of Post-World War II America
Jamie Brummer

Though presenting itself as pulpy example of hardboiled American fiction, Jim Thompson’s The Killer Inside Me opens up in important and unexpected ways when read as a subversive Gothic novel. Such a reading sheds light on a range of marginalized characters (especially women and rural peoples) who often remain shadowed by more conventional readings. Reading the novel as Gothic also highlights thematic concerns which counter the halcyon image of post-World War II America as a golden age and reveal instead a contemporary landscape fraught with violence, alienation, and mental instability.

Gothic Studies
Stacy Gillis

This article provides a reading of gender politics in cyberpunk, drawing upon the Gothic, the cyborg and the (post)feminist subject. This reading is effected through an account of the ass-kicking techno-babe, a crucial component of the masculine strand of cyberpunk which valorises a masculinity and technology dialectic and draws upon film noir, with its hardboiled detectives and monstrous femmes fatales. From Molly Million‘s in Neuromancer to Y.T. in Neal Stephenson‘s Snow Crash (1992) and Trinity in Andy and Larry Wachowski‘s Matrix trilogy (1999–2003), this figure of the femme fatale demonstrates that the (post)feminist project of the ass-kicking techno-babe has found a home in the Gothic aesthetics of the noir-inf(l)ected genre of cyberpunk. The account of how hyper-sexualised cyborgic female bodies are positioned in contrast with the repressed bodies of male hackers reveals the destabilising conundrum of supposed agency contained by the determinacy of the (post)feminist body.

Gothic Studies
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Author: Steve Blandford

This is the first book-length study of one of the most significant of all British television writers, Jimmy McGovern. The book provides comprehensive coverage of all his work for television including early writing on Brookside, major documentary dramas such as Hillsborough and Sunday and more recent series such as The Street and Accused.

Whilst the book is firmly focused on McGovern’s own work, the range of his output over the period in which he has been working also provides something of an overview of the radical changes in television drama commissioning that have taken place during this time. Without compromising his deeply-held convictions McGovern has managed to adapt to an ever changing environment, often using his position as a sought-after writer to defy industry trends.

The book also challenges the notion of McGovern as an uncomplicated social realist in stylistic terms. Looking particularly at his later work, a case is made for McGovern employing a greater range of narrative approaches, albeit subtly and within boundaries that allow him to continue to write for large popular audiences.

Finally it is worth pointing to the book’s examination of McGovern’s role in recent years as a mentor to new voices, frequently acting as a creative producer on series that he part-writes and part brings through different less-experienced names.

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American horror comics as Cold War commentary and critique

Printing Terror places horror comics of the mid-twentieth century in dialogue with the anxieties of their age. It rejects the narrative of horror comics as inherently and necessarily subversive and explores, instead, the ways in which these texts manifest white male fears over America’s changing sociological landscape. It examines two eras: the pre-CCA period of the 1940s and 1950s, and the post-CCA era to 1975. The authors examine each of these periods through the lenses of war, gender, and race, demonstrating that horror comics are centred upon white male victimhood and the monstrosity of the gendered and/or racialised other. It is of interest to scholars of horror, comics studies, and American history. It is suitably accessible to be used in undergraduate classes.

Callan (ITV, 1967–72) as an existential thriller for television
Joseph Oldham

, whose series of spy novels beginning with The Ipcress File (1962) were told in the first person by an unnamed agent from a northern workingclass background. Whilst Ian Fleming’s Bond novels had mixed the British spy novel tradition and the American hardboiled tradition of Mickey Spillane in his transgressive, uninhibited treatment of sex and violence, Deighton’s drew upon more sophisticated hardboiled writers such as Raymond Chandler and Dashiell Hammett who had used the genre to explore character psychology and social problems. The object of Deighton’s critique

in Paranoid visions
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Science fiction meets detection in Gun, With Occasional Music
James Peacock

The paratextual features of Lethem’s debut novel, Gun, With Occasional Music (1994) enact their own ambiguous evolutions, and this chapter begins by unpacking sets of significances from these features that will then be applied to the novel as a whole. Patterned with cross-hairs, the cover of the most recent Faber edition unashamedly declares the hard-boiled, noir

in Jonathan Lethem
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Anatomy of a metaphor
John M. Ganim

Phillips, ‘to portray Marlowe in the novel not just as a hard-boiled private eye, but as a knightly hero … Marlowe views a case as a crusade, whereby he aims to protect the innocent and helpless, and not merely solve a mystery.’ 19 Phillips is building here on Chandler’s own comments, as well as such critics as David Geherin , who compares Marlowe to a ‘knight in shining armor’ battling ‘dragons’, and

in Medieval film
Steven Peacock

, grisly iterations of this generic hybrid. The reader is encouraged to turn to Scaggs’ and James’s works for compendious accounts of crime genre’s many historical manifestations; for our purposes, it is enough to note several of the most common sub-genres, and their rendering in Swedish form. Golden Age detectives and hard-boiled PIs Most helpfully, James provides a concise description of both types of protagonist in a comparative summary: 47 Swedish crime fiction The differences between the hard-boiled school and such Golden Age writers as Agatha Christie, Dorothy L

in Swedish crime fiction
Challenging the epic in French crime fiction of the 1940s and 1950s
Claire Gorrara

, resistance heroism is debunked as shallow self-interest or  pathological otherness, with resistance merely one option amongst others when faced with the compromises and choices of life under German  and Vichy rule.  Such morally ambivalent depictions  of the occupation  and resistance can be traced in French crime fiction of this period, particularly in the form of the roman noir. Noir visions of war The convergence of the French roman noir and les années noires is one  grounded in the ethics and poetics of hard-boiled crime fiction.19 Pioneered  by  American  and  British

in French crime fiction and the Second World War
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Andrew Spicer

a new direction for the crime film. Film noir was used through its analogy with Gallimard’s Série Noire , the label given to French translations of American ‘hard-boiled’ crime fiction from which several of those films had been adapted. As Charles O’Brien notes, these critics were simply extending a pre-war tradition in which the term was used to describe sombre, bleak French films that have been retrospectively

in European film noir