With trouble brewing in Burma, it’s time to call in the agent of last resort, in this thriller by “the John D. MacDonald of espionage fiction” (Larry McMurtry, The New York Times). In Washington, they call him the Nullifier—the man to hire when every diplomatic option has failed. Joe Gall is now on his way to Burma, where the government is at its wits’ end trying to expel a nationalist Chinese general and his army. And if he needs backup, he has the ability to call in firepower from the famed Gurhka regiment, in this action-adventure thriller from the Edgar Award–nominated author. “I admire Philip Atlee’s writing tremendously.” —Raymond Chandler

This is a critical history of spy fiction, film and television in the United States, with a particular focus on the American fictional spies that rivaled (and were often influenced by) Ian Fleming's James Bond. James Fenimore Cooper's Harvey Birch, based on a real-life counterpart, appeared in his novel The Spy in 1821. While Harvey Birch's British rivals dominated spy fiction from the late 1800s until the mid-1930s, American spy fiction came of age shortly thereafter. The spy boom in novels and films during the 1960s, spearheaded by Bond, heavily influenced the espionage genre in the United States for years to come, including series like The Man from U.N.C.L.E. and Matt Helm. The author demonstrates that, while American authors currently dominate the international spy fiction market, James Bond has cast a very long shadow, for a very long time.

The Code of Federal Regulations is the codification of the general and permanent rules published in the Federal Register by the executive departments and agencies of the Federal Government.

Special edition of the Federal Register, containing a codification of documents of general applicability and future effect ... with ancillaries.

Provides an introduction to American pulp fiction during the twentieth century with brief author biographies and lists of their works.

Actors' screen images have too often stolen the focus of attention from their behind-the-scenes working conditions. In "Negotiating Hollywood", Danae Clark begins to fill this gap in film history by providing a rich historical account of actors' labour struggles in 1930s Hollywood. For many years, one of the dominant approaches to film studies has been the "star studies" approach, like auteurism or biography wherein one actor or director becomes the object of study. Clark argues for a cultural studies approach, as she investigates both the individual and collective political conflicts that actors encountered within the Hollywood production system in the 1930s. She reveals the contradictory position of actors caught in the forces between production and consumption, representation and self-representation, their role as images and their occupation as labourers. Taking the formation of the Screen Actors Guild in 1933 as its investigative centrepiece, "Negotiating Hollywood" examines the ways in which actors' contracts, studio labour policies and public relations efforts, films, fan magazines, and other documents were all involved in actors' struggles to assert their labour power and define their own images. Clark supplies information not only on stars, but on screen extras, whose role in the Hollywood film industry has remained hitherto undocumented. "Negotiating Hollywood" should be of appeal to individuals interested in actor labour, film history and cultural studies.