Crime and punishment on the dark side of French society, as reflected in the silver screen.

French film noir has long been seen as a phenomenon distinct from its Hollywood counterpart. This book - an innovative departure from conventional noir scholarship - now adopts a biocultural approach to exploring the French genre through the years 1941-1959. Chapters reveal noir as a product of the social and cultural factors at play in occupied, liberated and post-war France: marked by malaise at military defeat, Nazi collaboration and the impact of industrialisation. Furthermore, the book uncovers the evolutionary mechanisms of sexuality and reproduction beneath the national context that drive gendered behaviour on screen. During this period, for example, the emerging urgent demand for population growth, coupled with the severe shortage of eligible males, rendered the mating game particularly perilous for traditional women beginning to enter the workplace. This explains the cynical yet seductive behaviour of the femme fatale. Deborah Walker-Morrison focuses on the dangerous, often deadly, desires of an array of male and female character-types: moving past the celebrated, fatal `femme' to tragic heroines, psychopathic narcissists, fatal `hommes' and gangster anti-heroes. The book re-examines productions by directors such as Henri-Georges Clouzot, Jacques Becker and Jules Dassin and pulls together strands of sociological, biological, psychological and evolutionary science to create an illuminating study of the intense human passions underlying the cut-throat world of noir.

Now available in one collection, four classic crime thrillers from the award-winning “French master of noir” (Observer) Unravelling like a paranoid nightmare, Bird in a Cage melds existentialist drama with thrilling noir to tell the story of a man trapped in a prison of his own making. Crush is a chilling 1950s suspense story of youthful naivety, dark obsession—and the slippery slope to murder. The Executioner Weeps is the winner of the 1957 Grand Prix de Littérature Policière. And The Gravedigger's Bread is a claustrophobic thriller about love gone wrong. All from the French master of noir. In Bird in a Cage, trouble is the last thing Albert needs. Traveling back to his childhood home on Christmas Eve to mourn his mother’s death, he finds the loneliness and nostalgia of his Parisian quartier unbearable. Until, that evening, he encounters a beautiful, seemingly innocent woman at a brasserie, and his spirits are lifted. Still, something about the woman disturbs him. Where is the father of her child? And what are those two red stains on her sleeve? When she invites him back to her apartment, Albert thinks he’s in luck. But a monstrous scene awaits them, and he finds himself lured into the darkness against his better judgment. Crush: Bored with her mundane factory job, her nagging mother, and her alcoholic father-in-law, 17-year-old Louise Lacroix is captivated by a glamorous American couple who moves to her industrial hometown in Northern France. The Roolands' home is an island of color, good humor, and easy living in drab 1950s Léopoldville—a place straight out of Louise’s dreams. Louise is thrilled when she successfully convinces the couple to hire her as their maid. But once she is under their roof, their model life starts to fall apart. Painful secrets from their past emerge, cracks in their relationship appear, and a dark obsession begins to grow. In The Executioner Weeps, it was fate that led her to step out in front of the car. A quiet mountain road. A crushed violin. And a beautiful woman lying motionless in the ditch. Carrying her back to his lodging on a beach near Barcelona, Daniel discovers that the woman is still alive but that she remembers nothing—not even her own name. And soon he has fallen for her mysterious allure. She is a blank canvas, a perfect muse, and his alone. But when Daniel travels to France in search of her past, he slips into a tangled vortex of lies, depravity, and murder. The Gravedigger's Bread: Blaise should never have hung around in that charmless little provincial town. The job offer that attracted him in the first place had failed to materialize. He should have got on the first train back to Paris, but Fate decided otherwise. After a chance encounter with a beautiful blonde in the town post-office, Blaise is hooked. He realizes he'll do anything to stay by her side, and soon finds himself working for her husband, a funeral director. But the tension in this strange love triangle begins to mount, and eventually results in a highly unorthodox burial.

This book is one of the first English-language studies to chart the development of crime fiction in French from the mid-nineteenth century to the present day. It analyses the distinctive features of a French-language tradition and introduces readers to a rich and varied body of work. Each chapter examines a specific period, movement or group of writers, as well as engaging with wider debates on the place of crime fiction within contemporary French and European culture. From early twentieth-century pioneers, such as Gaston Leroux and Maurice Leblanc, to the phenomenal success of Georges Simenon, from May 68 to the gender politics of crime fiction and postmodern reinventions, this collection approaches crime fiction in an interdisciplinary manner, alive to the innovative and often critically informed perspective it provides on French society and culture. The book also includes short extracts in English translation and an extensive bibliography of critical material for further reading. Such resources are aimed at encouraging the reader to gain a greater appreciation and understanding of this potent and formidable narrative of modern times.

More than 700 films from the classic period of film noir (1940 to 1959) are presented in this exhaustive reference book--such films as The Accused, Among the Living, The Asphalt Jungle, Baby Face Nelson, Bait, The Beat Generation, Crossfire, Dark Passage, I Walk Alone, The Las Vegas Story, The Naked City, Strangers on a Train, White Heat, and The Window. For each film, the following information is provided: the title, release date, main performers, screenwriter(s), director(s), type of noir, thematic content, a rating based on the five-star system, and a plot synopsis that does not reveal the ending.

Traces the genre of film noir back to German and French roots. Describes the developent of the genre in the United States and examines its expression in modern cinema.

“Navigates the seedy side of Marseille with 14 stories that range from the creepily introspective to the downright brutal.” —Publishers Weekly The Akashic Noir series first ventured into France with Paris Noir—and now moves one step deeper . . . A crossroads for the people of Europe and the Mediterranean, Marseille is a city that does not discriminate. It embodies the down-and-dirty, tough-guy side of France, but what it lacks in sophistication, it makes up for in spirit. Still, in its shadows lurks a not-so-distant darkness . . . one that can be found in stories translated from French by David Ball and Nicole Ball and written by: François Beaune, Philippe Carrese, Patrick Coulomb, Cédric Fabre, René Frégni, Christian Garcin, Salim Hatubou, Rebecca Lighieri, Emmanuel Loi, Marie Neuser, Pia Petersen, Serge Scotto, Minna Sif, and François Thomazeau. “Gritty from east to west, Marseille is the perfect venue for the latest in Akashic’s venerable Noir series. While earlier entries in this 70-volume series have sometimes been bleak and atmospheric, this one is all red meat. . . . Just as Marseille is tailor-made for noir, this dark banquet is tailor-made for noir fans.” —Kirkus Reviews “The stories . . . are united by vivid and evocative writing, as well as by a distinctive take on the city. Another strong entry in a series that should be required reading for crime fans.” —Booklist

This revised and updated edition of a successful and established text provides a much-needed historical overview of French cinema from its roots through to the political and social developments in the 1990s and beyond.

This first book published on film noir established the genre--a classic, at last in translation.

This first major study of Jean-Pierre Melville in the English language -a fashionable cult director and one of the few true masters of the cinema.