Taking issue with many orthodox views of Film Noir, Frank Krutnik argues for a reorientation of this compulsively engaging area of Hollywood cultural production. Krutnik recasts the films within a generic framework and draws on recent historical and theoretical research to examine both the diversity of film noir and its significance within American popular culture of the 1940s. He considers classical Hollywood cinema, debates on genre, and the history of the emergence of character in film noir, focusing on the hard-boiled' crime fiction of Dashiell Hammett, Raymond Chandler and James M. Cain as well as the popularisationof Freudian psychoanalysis; and the social and cultural upheavals of the 1940s. The core of this book however concerns the complex representationof masculinity in the noir tough' thriller, and where and how gender interlocks with questions of genre. Analysing in detail major thrillers like The Maltese Falcon, Double Indemnity, Out of the Past and The Killers , alongside lesser known but nonetheless crucial films as Stranger on the Third Floor, Pitfall and Dead Reckoning Krutnik has produced a provocative and highly readable study of one of Hollywood most perennially fascinating groups of films.

for treble recorder and piano A light and airy piece for Christmas. The recorder line is simple and is accompanied by an equally accessible piano part.

Her father's murder drives a young woman to seek refuge in Liverpool - but she could now be in even greater danger... Lyn Andrews' The House on Lonely Street is a powerful and nostalgic saga set in Dublin and Liverpool, of the power of love, friendship... and fear. Perfect for fans of Dilly Court and Kitty Neale. For Katherine Donovan the slums of Dublin are a lonely place. Her father, a pawnbroker, is the most hated man in the district, and Katherine an outcast. Her only friend is tiny Ceppi Healy, underfed, irrepressible and, the youngest in a neglected family of eight, as much an emotional orphan as eighteen-year-old Katherine. Then, one night, the unthinkable happens. Katherine's father is murdered, a victim of local revenge for an act of cruelty even she couldn't have anticipated. Fearing for her life, Katherine flees, taking with her the desperate young Ceppi. Liverpool is her longed-for haven and, with the last of her father's money, she rents a lodging house in a street decimated by the sinking of the Titanic. But, far from finding a refuge for herself and the little girl she promised to protect, she realises she has put them into the path of terrible danger... What readers are saying about The House on Lonely Street: 'I read [this book] in less than a day... The characters were so believable and you could imagine the struggle, but from the start you wanted Katherine to succeed' 'As usual Lyn Andrews tells a really good story. She makes you care about the characters, and the only criticism I have is that I was left wanting more' 'The brilliant plot will sweep you away to its majestic and tear-jerking ending'

Taking issue with many orthodox views of Film Noir, Frank Krutnik argues for a reorientation of this compulsively engaging area of Hollywood cultural production. Krutnik recasts the films within a generic framework and draws on recent historical and theoretical research to examine both the diversity of film noir and its significance within American popular culture of the 1940s. He considers classical Hollywood cinema, debates on genre, and the history of the emergence of character in film noir, focusing on the hard-boiled' crime fiction of Dashiell Hammett, Raymond Chandler and James M. Cain as well as the popularisationof Freudian psychoanalysis; and the social and cultural upheavals of the 1940s. The core of this book however concerns the complex representationof masculinity in the noir tough' thriller, and where and how gender interlocks with questions of genre. Analysing in detail major thrillers like The Maltese Falcon, Double Indemnity, Out of the Past and The Killers , alongside lesser known but nonetheless crucial films as Stranger on the Third Floor, Pitfall and Dead Reckoning Krutnik has produced a provocative and highly readable study of one of Hollywood most perennially fascinating groups of films.

"Albuquerque private eye Bubba Mabry is hired by a gold-swathed man named Buddy to work security for the King--a back-from-the-dead, low-profile Elvis--and becomes the sole suspect in two murders"--NoveList

Hi I am Jose M. Gonzalez this is my story. I was inspired by the lord Jesus Christ himself to write this book about my life story. I alone would have never even thought to write a book about my life but I feel as if i have been led by God to write this. It hurt to write this book because for my entire childhood and even as a young adult there was nothing but pain and misery. This book takes you thought my life and my hardships of growing up with nobody to care for or anybody to love and even as my struggles as an adult. I hope this book touches and moves you to appreciate the things you have in life. This story is a testament that God is real and he protects his children from all the things in this world. If this book can help just one person than I would be happy. I hope you enjoy God Bless.

There is a particular flavor to the loneliness that comes from living in a city, surrounded by thousands of strangers. This roving cultural history of urban loneliness centers on the ultimate city: Manhattan, that teeming island of gneiss, concrete, and glass. How do we connect with other people, particularly if our sexuality or physical body is considered deviant or damaged? Does technology draw us closer together or trap us behind screens? Laing travels deep into the work and lives of some of the century's most original artists in a celebration of the state of loneliness.

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.

Malcolm Stevenson, a wealthy ex-naval officer haunted by his memories of the war, finds his lonely life turned upside down one night when he runs into trouble on a road near the coast. What at first appears to be an accident leads him to discover an international conspiracy against his country--and to fall in love with a dance hostess who seems to have something to do with it. Malcolm's determination to expose the plot will put his life--and that of the only person who has brought him any happiness--in grave danger.