In The American Roman Noir, William Marling reads classic hard-boiled fiction and film in the contexts of narrative theories and American social and cultural history. His search for the origins of the dark narratives that emerged during the 1920s and 1930s leads to a sweeping critique of Jazz-Age and Depression-era culture. Integrating economic history, biography, consumer product design, narrative analysis, and film scholarship, Marling makes new connections between events of the 1920s and 1930s and the modes, styles, and genres of their representation. At the center of Marling's approach is the concept of "prodigality": how narrative represents having, and having had, too much. Never before in the country, he argues, did wealth impinge on the national conscience as in the 1920s, and never was such conscience so sharply rebuked as in the 1930s. What, asks Marling, were the paradigms that explained accumulation and windfall, waste and failure? Marling first establishes a theoretical and historical context for the notion of prodigality. Among the topics he discusses are such watershed events as the trial of Sacco and Vanzetti and the premiere of the first sound movie, The Jazz Singer; technology's alteration of Americans' perceptive and figurative habits; and the shift from synecdochical to metonymical values entailed by a consumer society. Marling then considers six noir classics, relating them to their authors' own lives and to the milieu of prodigality that produced them and which they sought to explain: Dashiell Hammett's Red Harvest and The Maltese Falcon, James M. Cain's The Postman Always Rings Twice and Double Indemnity, and Raymond Chandler's The Big Sleep and Farewell My Lovely. Reading these narratives first as novels, then as films, Marling shows how they employed the prodigality fabula's variations and ancillary value systems to help Americans adapt--for better or worse--to a society driven by economic and technological forces beyond their control.
Images of polished kitchens and car ownership were an unobtainable dream for the majority in the aftermath of ... 2 Kristin Ross , Fast Cars , Clean Bodies : Decolonization and the Reordering of French Culture ( Cambridge , Mass.
Looks beyond the tourist facade of Italy's capital. This is the real city of Fellini, Pasolini and countless other major artists who devoted their lives to depicting the grandeur and decadence of this ever fascinating metropolis.
Carmen Callil, Subversive Sybils: Women's Popular Fiction this Century (Bury St Edmonds: St Edmundsbury Press Ltd., 1996), p. 15. 19. Ibid., p. 6. 20. Walton and Jones, Detective Agency, p. 37. 21. Merja Makinen, Feminist Popular ...
Several people involved in the lynching suffer violent deaths, and even Tutts must try to escape the violence that has been unleashed. This is a novel that describes the new urban Africa, no stranger to tribalism, romance and crime.
(Deleuse 1997: 59) Deleuse neither makes explicit the importance of this juxtaposition of dates, nor is he inclined to lend too much importance to the place of Duhamel's series in the history of the roman noir in France.
Gatekeepers builds on the work of Pierre Bourdieu, Randall Collins, James English, and Mark McGurl, describing the multi-layered gatekeeping process in the context of World Literature after the 1960s.
Neon Noir, the follow-up to Woody Haut's highly regarded Pulp Culture, brings the story of American crime fiction and film uptodate. From the Kennedy assassination to the Vietnam War and...
James M. Cain, virtuoso of the roman noir, gives us a tautly narrated and excruciatingly suspenseful story in Double Indemnity, an X-ray view of guilt, of duplicity, and of the kind of obsessive, loveless love that devastates everything it ...
In his view the genre exemplifies a consciousness of guilt : the roman noir is a modern version of the biblical parable of the prodigal son that brings forth the notion of having had too much — there emerges a conflict between saving ...
A special edition of The Postman Always Rings Twice by James M. Cain. Featuring an introduction by James Ellroy.