A New York Review Books Original Whether you call her a coldhearted grifter or the soul of modern capitalism, there’s no question that Aimée is a killer and a more than professional one. Now she’s set her eyes on a backwater burg—where, while posing as an innocent (albeit drop-dead gorgeous) newcomer to town, she means to sniff out old grudges and engineer new opportunities, deftly playing different people and different interests against each other the better, as always, to make a killing. But then something snaps: the master manipulator falls prey to a pure and wayward passion. Aimée has become the avenging angel of her own nihilism, exacting the destruction of a whole society of destroyers. An unholy original, Jean-Patrick Manchette transformed the modern detective novel into a weapon of gleeful satire and anarchic fun. In Fatale he mixes equal measures of farce, mayhem, and madness to prepare a rare literary cocktail that packs a devastating punch.

In this work of feminist film criticism, Mary Ann Doane examines questions of sexual difference and knowledge in cinematic, theoretical, and psychoanalytic discourses. "Femmes Fatales" examines Freud, the female spectator, the meaning of the close-up, and the nature of stardom. Doane's analyses of such figures as Pabst's Lulu and Rita Hayworth's Gilda trace the thematics and mechanics of maskes, masquerade, and veiling, with specific attention to the form and technology of the cinema. Working through and against the intellectual frameworks of post-structuralist and psychoanalytic theory, Doane interrogates cinematic and theoretical claims to truth about women which rely on judgements about vision and its stability or instability. Reflecting the shift in conceptual priorities within feminist film theory over the last decade, "Femmes Fatales" addresses debates over female spectatorhsip, essentialism and anti-essentialism, the tensions between psychoanalysis and history, and the relations between racial and sexual difference. Doane's nuanced and original readings of the "femme fatale" in cinema illustrate confrontations between feminism, film theory and psychoanalysis. This book should be of interest to students and lecturers in women's studies, communications studies and film theory.

Film Fatales offers a fascinating glimpse into the lives and work of women filmmakers. Profiled here are over thirty pioneering directors, producers, and distributors who have changed the face of contemporary film by delivering new and distinctly female images and sensibilities for the screen.

Sean Connery began the sixties spy movie boom playing James Bond in Dr. No and From Russia with Love. Their success inspired every studio in Hollywood and Europe to release everything from serious knockoffs to spoofs on the genre featuring debonair men, futuristic gadgets, exotic locales, and some of the world's most beautiful actresses whose roles ranged from the innocent caught up in a nefarious plot to the femme fatale. Profiled herein are 107 dazzling women, well-known and unknown, who had film and television appearances in the spy genre. They include superstars Doris Day in Caprice, Raquel Welch in Fathom, and Ann-Margret in Murderer's Row; international sex symbols Ursula Andress in Dr. No and Casino Royale, Elke Sommer in Deadlier Than the Male, and Senta Berger in The Spy with My Face; and forgotten lovelies Greta Chi in Fathom, Alizia Gur in From Russia with Love, and Maggie Thrett in Out of Sight. Each profile includes a filmography that lists the actresses' more notable films. Some include the actresses' candid comments and anecdotes about their films and television shows, the people they worked with, and their feelings about acting in the spy genre are offered throughout. A list of websites that provide further information on women in spy films and television is also included.

The first complete monograph of the singular work of Ryan Heshka Inspired by nostalgia for the old science fiction and superheroes of the golden-age, Ryan Heshka is recognized in the US and internationally for building an impressive singular work where giant robots compete mean girls. Monitoring and cheered by a large fan base, here is the first monograph of his incredible and unique work.

Maite Debois aka Keiko is one of the best contract assassins known throughout the world; whose beauty is the epitome of deadly. She has been a part of the world's deadliest crime organizations, called The 13 Chambers since the age of 8 years old. Taught from young to be judge, jury, and executioner with a cold less heart; will Maite give into love or stay devoted to The 13 Chambers.

Former detective and reluctant SS officer Bernie Gunther must infiltrate a brutal world of spies, partisan terrorists, and high-level traitors in this “clever and compelling”(The Daily Beast) New York Times bestseller from Philip Kerr. Berlin, 1941. Bernie is back from the Eastern Front, once again working homicide in Berlin's Kripo and answering to Reinhard Heydrich, a man he both detests and fears. Heydrich has been newly named Reichsprotector of Czechoslovakia. Tipped off that there is an assassin in his midst, he orders Bernie to join him at his country estate outside Prague, where he has invited some of the Third Reich's most odious officials to celebrate his new appointment. One of them is the would-be assassin. Bernie can think of better ways to spend a beautiful autumn weekend, but, as he says, “You don't say no to Heydrich and live.”

A coming of age novel set in post-war France by an author who “launched the modern genre of the lesbian paperback” (Susan Stryker, author of Queer Pulp). When eighteen-year-old Cécile is orphaned at the end of World War II, the curious and adventurous Catholic student finds refuge in Paris, and with an older man. A former member of the Resistance with Cécile’s parents, Maurice is handsome, a thrilling cultured patron of the arts, and a mentor eager to introduce the budding young author to his intimate circle of friends—Cocteau, Sartre, and Eartha Kitt! As liberating an influence as he is, Maurice also encourages Cécile to shed her inhibitions he sees as bourgeois. Possessing a sensual and passionate temperament, Cécile is eager to begin exploring—by sharing Maurice’s mistress, and writing of every life-changing and delightfully scandalous new experience. Credited with penning the first, candidly lesbian novel—Women’s Barracks, in 1950—Tereska Torrès “scandalized mid-century America” (The New York Times). In By Cécile, written in 1963, “Madame Torres has re-imagined a youthful Colette (here called Cécile) in the infinitely seductive post-World War II period in Paris, where she moves like a sleeping princess through the perverse fairy tales of man-made cafe society. [It’s] a sharply perceptive novel” (Joan Schenkar, author of The Talented Miss Highsmith).

When the anti-terror organization S.H.I.E.L.D. asks for his help in battling the forces of HYDRA, millionaire industrialist Tony Stark, a.k.a. Iron Man, falls victim to the schemes of two women who discover his fatal flaw.

Characters in the literary tradition of American naturalism are usually perceived as passive, lacking in will, weak, and predetermined. They are constantly seen as the victims of heredity and environment, and their lives are shaped according to these strong forces that operate upon them. This interesting book examines the representation of female characters in American naturalism and argues that women in American naturalism are often represented as femmes fatales. Since heredity and environment are the determining factors in their lives, they are victims who have no control. However, with characters such as Trina Sieppe in Frank Norris's McTeague, Caroline Meeber in Theodore Dreiser's Sister Carrie, Edna Pontellier in Kate Chopin's The Awakening, and Helga Crane in Nella Larsen's Quicksand, these women victims gradually turn themselves into victimizers in order to conquer both heredity and environment. They consciously and deliberately use the only power they have that can help them overcome the naturalistic world in which they are entrapped--the power of the feminine. The book explains who exactly the femme fatale that has been born out of American naturalism is, and explores images of women in American realism who precede the femme fatale of American naturalism. This study examines characters like Trina Sieppe, Caroline Meeber, Edna Pontellier, and Helga Crane. It analyzes these women's backgrounds, their demeanors, their temperaments, their experiences, and their settings, and explains how and when each woman decides to use her sexuality. There is also a brief discussion of other femmes fatales in American naturalism, such as Stephen Crane's Maggie: A Girl of the Streets. Although the perception of women in nineteenth-century American literature has always had its place in discussions of literary texts, this book is unique in its argument that women in American naturalism are neither weak nor passive, but rather are strong and daring women who try diligently to find a means of fighting back. This book is an important addition to collections in literature and Women's studies.