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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
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Guy Austin

associated with the period drama (see chapter 7 ) as well as the polar . Their similarity of outlook extends to adapting the work of the same American crime novelist, Jim Thompson, and even to working on screen versions of the same novel, Thompson’s Pop. 1280 (Tavernier successfully, Corneau without result). Thompson transposed: Série noire and Coup de torchon Rediscovered by Hollywood in the

in Contemporary French cinema
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Andrew Spicer

– it was based on Jim Thompson’s A Hell of a Woman – but the action was relocated to dismal, nondescript Parisian suburbs, and the characters recognisably French. Powrie suggests that a further development of this dystopian strain has taken place into what he terms ‘hyper-noir’, which ‘plunges us into excessive embodiment via the abject and the repulsive’ (p. 71) in films that are complex hybrids, visceral and

in European film noir
Lynn Anthony Higgins

and Alexandre Dumas, Simenon and Jim Thompson, as he is with John Ford, Jean Renoir, Fernandel, and Buster Keaton. The writers among his father’s acquaintances who populated Bertrand’s childhood also encouraged his interests. Literature and film are never very far apart in France in any case: French cinema is distinguishable from, say, Hollywood in that it tends to be more language-oriented to begin with. Literary cinema has sometimes been produced by a single individual who is both filmmaker and novelist or playwright (Marcel

in Bertrand Tavernier
The New Playwrights Theatre and American radical Constructivism
Barnaby Haran

achieving too little as a playwright. the mass and the machine 73 Modernist machine-wrecking in Paul Sifton’s The Belt In contrast, Sifton’s The Belt was a more focused investigation of a specific American situation: industrial disputes in a Ford-type automobile plant. The narrative of resistance against the assembly line – the titular belt – certainly justified the mechanical stage set, which Remo Bufano designed with further settings by Dos Passos. The story concerns autoworker Jim Thompson, beaten down by ten years of unrelenting toil on the belt. On the tenth

in Watching the red dawn
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Late capitalism and the illegal drug trade in No Country for Old Men and The Counselor
Lydia R. Cooper

torchon .’ Yousaf examines the transatlantic movement of two Jim Thompson novels to a French film director’s narrative set in Senegal in the 1930s in order to illustrate a through-line which depict sheriffs—in Thompson’s case, Texan sheriffs—as deeply implicated in lynch mobs and white violence aimed at ‘keep[ing] black southerners in their place.’ See ‘A Southern Sheriff’s Revenge: Bertrand Tavernier’s Coup de torchon ,’ Translatlantic Exchanges: The American South in Europe, Europe in the American South , eds. Richard Gray and Waldemar Zacharasiewicz (Austrian

in Cormac McCarthy
Post-war French polar, from Becker to Corneau
Philippe Met

rather than documentary) has a unique function and pioneering role to play in that process, with the potential added bonus of reinvigorating, more specifically, the crime genre. Transposing the Kentucky setting of its source material, Jim Thompson’s hardboiled novel A Hell of a Woman, to Ile-de-France, Série noire was primarily shot in a private residential area of Saint-Maur and the vacant lots of Créteil,22 both southeast of Paris. The opening frames strikingly set the tone with their leaden visual feel (although undetected to the naked eye, filters were used to

in Screening the Paris suburbs
Phil Powrie

making, their obsession born of something other than the detective’s quest for truth. These dark films occur as much in the 1970s and 1980s as they do in the 1990s. It is perhaps appropriate to start with Corneau’s Série noire (1979), given that its title is that of the thriller novel series which defined the post-war polar . It is based on another hard-boiled American novel, Jim Thompson’s A Hell of a Woman

in European film noir
Lynn Anthony Higgins

all are treated ironically. The coherence of the film’s vision, however, lies in its mobilization of the spiritual quest and social allegory that define melodrama. Excess and hyperbole, sensationalism and pathos, and moral polarization are present in abundance, and it would be hard to imagine a more extreme vision of the ‘moral occult’ than this. With Aurenche, Tavernier adapted his screenplay from American pulp novelist Jim Thompson’s Pop. 1280 , set in Texas. Published in 1964 during the Civil Rights movement, the novel

in Bertrand Tavernier
Lynn Anthony Higgins

same film, insane serial killer Bouvier, in a fit of fury, threatens the Judge in Maghrebian Arabic. This hint of Bouvier’s hidden colonial trauma adds a contemporary edge to the film’s demonstration of the consequences that follow when institutions abandon or betray a colonial war veteran. • 1981. Coup de torchon transposes Jim Thompson’s novel from the American West to French West Africa, transforming Thompson’s tale of racism and moral cowardice into an apocalyptic allegory of colonial atrocities. • 1984. Discouraged

in Bertrand Tavernier