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Why has crime fiction become a global genre? How do writers use
crime fiction to reflect upon the changing nature of crime and
policing in our contemporary world? This book argues that the
globalization of crime fiction should not be celebrated
uncritically. Instead, it looks at the new forms and techniques
writers are using to examine the crimes and policing practices that
define a rapidly changing world. In doing so, this collection of
essays examines how the relationship between global crime,
capitalism, and policing produces new configurations of violence in
crime fiction - and asks whether the genre can find ways of
analyzing and even opposing such violence as part of its
necessarily limited search for justice both within and beyond the
state.
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Noir Affect (Paperback)
Christopher Breu, Elizabeth A. Hatmaker; Afterword by Paula Rabinowitz; Contributions by Christopher Breu, Alexander Dunst, …
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R949
R853
Discovery Miles 8 530
Save R96 (10%)
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Ships in 12 - 17 working days
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Noir Affect proposes a new understanding of noir as defined by
negative affect. This new understanding emphasizes that noir is,
first and foremost, an affective disposition rather than a specific
cycle of films or novels associated with a given time period or
national tradition. Instead, the essays in Noir Affect trace noir's
negativity as it manifests in different national contexts from the
United States to Mexico, France, and Japan and in a range of
different media, including films, novels, video games, and manga.
The forms of affect associated with noir are resolutely negative:
These are narratives centered on loss, sadness, rage, shame, guilt,
regret, anxiety, humiliation, resentment, resistance, and refusal.
Moreover, noir often asks us to identify with those on the losing
end of cultural narratives, especially the criminal, the lost, the
compromised, the haunted, the unlucky, the cast-aside, and the
erotically "perverse," including those whose greatest erotic
attachment is to death. Drawing on contemporary work in affect
theory, while also re-orienting some of its core assumptions to
address the resolutely negative affects narrated by noir, Noir
Affect is invested in thinking through the material, bodily,
social, and political-economic impact of the various forms noir
affect takes. If much affect theory asks us to consider affect as a
space of possibility and becoming, Noir Affect asks us to consider
affect as also a site of repetition, dissolution, redundancy,
unmaking, and decay. It also asks us to consider the way in which
the affective dimensions of noir enable the staging of various
forms of social antagonism, including those associated with racial,
gendered, sexual, and economic inequality. Featuring an Afterword
by the celebrated noir scholar Paula Rabinowitz and essays by an
array of leading scholars, Noir Affect aims to fundamentally
re-orient our understanding of noir. Contributors: Alexander Dunst,
Sean Grattan, Peter Hitchcock, Justus Nieland, Andrew Pepper,
Ignacio Sanchez Prado, Brian Rejack, Pamela Thoma, Kirin
Wachter-Grene
The Routledge Companion to Crime Fiction is a comprehensive
introduction to crime fiction and crime fiction scholarship today.
Across forty-five original chapters, specialists in the field offer
innovative approaches to the classics of the genre as well as
ground-breaking mappings of emerging themes and trends. The volume
is divided into three parts. Part I, Approaches, rearticulates the
key theoretical questions posed by the crime genre. Part II,
Devices, examines the textual characteristics of the genre. Part
III, Interfaces, investigates the complex ways in which crime
fiction engages with the defining issues of its context - from
policing and forensic science through war, migration and narcotics
to digital media and the environment. Engagingly written and
drawing on examples from around the world, this volume is
indispensable to both students and scholars of crime fiction.
This book represents the first extended consideration of
contemporary crime fiction as a European phenomenon. Understanding
crime fiction in its broadest sense, as a transmedia practice, and
offering unique insights into this practice in specific European
countries and as a genuinely transcontinental endeavour, this book
argues that the distinctiveness of the form can be found in its
related historical and political inquiries. It asks how the genre's
excavation of Europe's history of violence and protest in the
twentieth century is informed by contemporary political questions.
It also considers how the genre's progressive reimagining of new
identities forged at the crossroads of ethnicity, gender, and
sexuality is offset by its bleaker assessment of the corrosive
effects of entrenched social inequalities, political corruption,
and state violence. The result is a rich, vibrant collection that
shows how crime fiction can help us better understand the complex
relationship between Europe's past, present, and future. Seven
chapters are available open access under a Creative Commons
Attribution 4.0 International License via link.springer.com.
What gives crime fiction its distinctive shape and form? What makes
it such a compelling vehicle of social and political critique?
Unwilling Executioner argues that the answer lies in the emerging
genre's complex and intimate relationship with the bureaucratic
state and modern capitalism, and the contradictions that ensue once
the state assumes control of the criminal justice system. This
study offers a dramatic new interpretation of the genre's emergence
and evolution over a three hundred year period and as a genuinely
transnational phenomenon. From its roots in the tales of
criminality circulated widely in Paris and London in the early
eighteenth century, this book examines the extraordinary richness,
diversity, and complexity of the genre's subsequent thematizations
of crime and policing-moving from France and Britain and from
continental Europe and the United States to other parts of the
globe. In doing so it offers new ways of reading established crime
novelists like Gaboriau, Doyle, Hammett, and Simenon, beyond their
national contexts and an impulse to characterize their work as
either straightforwardly 'radical' or 'conservative'. It also
argues for the centrality of writers like Defoe, Gay, Godwin,
Vidocq, Morrison, and more recently Manchette, Himes, and Sjoewall
and Wahloeoe to a project where crime and policing are rooted, and
shown to be rooted, in the social and economic conditions of their
time. These are all deeply political writers even if their novels
exhibit no interest in directly promoting political causes or
parties. The result is an agile, layered, and far-reaching account
of the crime story's ambivalent relationship to the justice system
and its move to complicate our understanding of what crime is and
how society is policed and for whose benefit.
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Noir Affect (Hardcover)
Christopher Breu, Elizabeth A. Hatmaker; Afterword by Paula Rabinowitz; Contributions by Christopher Breu, Alexander Dunst, …
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R3,646
Discovery Miles 36 460
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Ships in 10 - 15 working days
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Noir Affect proposes a new understanding of noir as defined by
negative affect. This new understanding emphasizes that noir is,
first and foremost, an affective disposition rather than a specific
cycle of films or novels associated with a given time period or
national tradition. Instead, the essays in Noir Affect trace noir's
negativity as it manifests in different national contexts from the
United States to Mexico, France, and Japan and in a range of
different media, including films, novels, video games, and manga.
The forms of affect associated with noir are resolutely negative:
These are narratives centered on loss, sadness, rage, shame, guilt,
regret, anxiety, humiliation, resentment, resistance, and refusal.
Moreover, noir often asks us to identify with those on the losing
end of cultural narratives, especially the criminal, the lost, the
compromised, the haunted, the unlucky, the cast-aside, and the
erotically "perverse," including those whose greatest erotic
attachment is to death. Drawing on contemporary work in affect
theory, while also re-orienting some of its core assumptions to
address the resolutely negative affects narrated by noir, Noir
Affect is invested in thinking through the material, bodily,
social, and political-economic impact of the various forms noir
affect takes. If much affect theory asks us to consider affect as a
space of possibility and becoming, Noir Affect asks us to consider
affect as also a site of repetition, dissolution, redundancy,
unmaking, and decay. It also asks us to consider the way in which
the affective dimensions of noir enable the staging of various
forms of social antagonism, including those associated with racial,
gendered, sexual, and economic inequality. Featuring an Afterword
by the celebrated noir scholar Paula Rabinowitz and essays by an
array of leading scholars, Noir Affect aims to fundamentally
re-orient our understanding of noir. Contributors: Alexander Dunst,
Sean Grattan, Peter Hitchcock, Justus Nieland, Andrew Pepper,
Ignacio Sanchez Prado, Brian Rejack, Pamela Thoma, Kirin
Wachter-Grene
What gives crime fiction its distinctive shape and form? What makes
it such a compelling vehicle of social and political critique?
Unwilling Executioner argues that the answer lies in the emerging
genre's complex and intimate relationship with the bureaucratic
state and modern capitalism, and the contradictions that ensue once
the state assumes control of the criminal justice system. This
study offers a dramatic new interpretation of the genre's emergence
and evolution over a three hundred year period and as a genuinely
transnational phenomenon. From its roots in the tales of
criminality circulated widely in Paris and London in the early
eighteenth century, this book examines the extraordinary richness,
diversity and complexity of the genre's subsequent thematizations
of crime and policing-moving from France and Britain and from
continental Europe and the United States to other parts of the
globe. In doing so it offers new ways of reading established crime
novelists like Gaboriau, Doyle, Hammett, and Simenon, beyond their
national contexts and an impulse to characterize their work as
either straightforwardly 'radical' or 'conservative'. It also
argues for the centrality of writers like Defoe, Gay, Godwin,
Vidocq, Morrison, and more recently Manchette, Himes, and Sjoewall
and Wahloeoe to a project where crime and policing are rooted, and
shown to be rooted, in the social and economic conditions of their
time. These are all deeply political writers even if their novels
exhibit no interest in directly promoting political causes or
parties. The result is an agile, layered, and far-reaching account
of the crime story's ambivalent relationship to the justice system
and its move to complicate our understanding of what crime is and
how society is policed and for whose benefit.
"The major thesis of this challenging, stimulating book rests on
the proposition that the historical record is not "fixed,
inviolate, and unchanging." Both thoughtful and engaging scholars,
McCrisken and Pepper reach fascinating, provocative conclusions.
Those interested in the intersection of film and history will
appreciate this unique study. Essential."-Choice Magazine Hollywood
has always been fascinated by America's past, but never more so
than in the past fifteen years. Bringing exciting new perspectives
to how and why Hollywood has sought to repicture American history,
this book offers analysis of more than twenty mainstream
contemporary films, including The Patriot, Amistad, Glory, Ride
with the Devil, Cold Mountain, Saving Private Ryan, The Thin Red
Line, Pearl Harbor, U-571, Platoon, Born on the Fourth of July,
Heaven and Earth, JFK, Nixon, Malcolm X, Ali, Black Hawk Down, and
Three Kings. Both authoritative and engaging, American History and
Contemporary Hollywood Film is the first book to comprehensively
explore the post-cold war period of filmmaking, and to navigate the
complex ways that film mediates history-sometimes challenging or
questioning, but more frequently reaffirming traditional
interpretations. The authors consider why such films are becoming
increasingly integral to the ambitions of a globally focused
American film industry. Structured by historical periods, chapters
cover significant events and eras such as the American Revolution,
slavery and the Civil War, World War II, the sixties and seventies,
civil rights and black nationalism, the Vietnam War, and post-cold
war global conflicts. The lessons learned from the examples will be
illuminating for general readers and college students alike. Trevor
McCrisken is lecturer in American politics and international
studies at the University of Warwick. He is the author of American
Exceptionalism and the Legacy of Vietnam: US Foreign Policy Since
1974. Andrew Pepper is lecturer in English and American literature
at Queen's University, Belfast. He is the author of The
Contemporary American Crime Novel.
Smart Dams and Reservoirs contains the proceedings of the 20th
Biennial Conference of the British Dam Society that took place from
13-15th September 2018. Many new techniques and methods are now
available for investigating, designing, constructing and monitoring
dams. The papers in this book give examples of how new ideas have
been used in practice to improve the efficiency and effectiveness
of all aspects of the work that is necessary to ensure the safety
of dams and reservoirs. The heritage value of older dams is being
increasingly recognised, and this book aims to show how ensuring
their safety can be carried out without adversely affecting the
historic and landscape features of these sites. The papers are
grouped into six chapters covering - planning and investigatory
techniques - working with our heritage - new approaches to design -
innovative approaches in during dam construction - sensing and
monitoring techniques for the twenty-first century - emergency
preparedness. The papers in this book will be of interest not only
to engineers and others directly involved in the management of
reservoirs, but also to designers and suppliers of new techniques
and remote monitoring and surveillance equipment.
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