Academic literature on the topic 'Detective-thriller'
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Journal articles on the topic "Detective-thriller"
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IOVĂNEL, MIHAI. "POPULAR GENRES: SCIENCE FICTION AND FANTASY, DETECTIVE NOVEL, THRILLER." Dacoromania litteraria 7 (2021): 137–53. http://dx.doi.org/10.33993/drl.2020.7.137.153.
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Vázquez, Juan de Dios. "Espectros en el archivo." Mexican Studies/Estudios Mexicanos 29, no. 2 (2013): 478–502. http://dx.doi.org/10.1525/msem.2013.29.2.478.
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Este artículo estudia la novela Cementerio de papel (2002) donde se teje un thriller detectivesco en torno a un asesinato sucedido bajo la cúpula del Archivo General de la Nación (Lecumberri). Con el traslado y la apertura de los expedientes de la antigua Dirección Federal de Seguridad retornan a la antigua prisión las viejas víctimas y sus victimarios, sólo que ahora en forma de espectros del pasado. La obra se mueve, así, dentro del binomio cárcel/archivo, presentando a Lecumberri como un espacio vivo desde donde empezar una búsqueda por la justicia y la verdad, sin caer en la melancolía o el victimismo. This essay examines the novel Cementerio de Papel [Paper Cemetery] (2002), a detective thriller about a murder that took place under the dome of the Archivo General de la Nación [National General Archive] (Lecumberri). The relocation and opening of the files of the former Dirección Federal de Seguridad [Federal Security Bureau] in the former prison comes along with the return of victims and victimizers, only now they come back as ghosts of things past. The novel works with the binomial jail/archive, featuring Lecumberri as a live space from which to begin a search for justice and truth, without sinking into melancholy or victimhood.
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Hamilton, Scott Eric. "The Murphy Murder Mystery: An Irish “post-mortem situation”." Estudios Irlandeses, no. 16 (March 17, 2021): 139–52. http://dx.doi.org/10.24162/ei2021-9987.
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This paper will propose that Beckett’s affinity for crime and mystery fiction also contributes to Murphy. The novel will be examined on the proposed hypothesis that Murphy’s death, so-called, is conspicuously left ambiguous to a certain degree, rendering it a type of mystery narrative. Approaching the mysterious death as something like a detective fiction “cold case”, the events of Murphy, and clues left by Beckett throughout the prose that follows, I will investigate whether or not Murphy does actually die toward the end of the book. Although Beckett does not present these aspects in the traditional form of “thriller” fiction, he does use them to create a modernist aesthetic which challenges traditions, identifications of being, identity, representation and space regarding both the individual and the social context of the Irish “postmortem situation” depicted in Murphy.
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Fryd, Vivien Green. "An Inverted Detective Thriller: Henry Ries and the Quakers’ Rescue of Stefanie Ries from Nazi Germany, 1939–41." Quaker History 110, no. 1 (2021): 31–67. http://dx.doi.org/10.1353/qkh.2021.0006.
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YOUSAF, NAHEM. "Regeneration through Genre: Romancing Katrina in Crime Fiction from Tubby Meets Katrina to K-Ville." Journal of American Studies 44, no. 3 (2010): 553–71. http://dx.doi.org/10.1017/s0021875810001234.
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This essay examines detective fiction that takes New Orleans and Hurricane Katrina as setting and theme. It explores the ways in which stories told in novels and prime-time TV shows across the interlocking genres of police procedural and crime thriller have steered a sensationalist course through the recovery of the city over the last five years. It considers the role and representation of the New Orleans Police Department in particular, and of law enforcement officials more broadly, as post-Katrina protagonists who protect and serve the city, a rejoinder to media-made myths according to which they deserted their posts in the days after the storm. It closes with a case study of FOX TV's K-Ville, the first television series to depict New Orleans post-Katrina in a sustained way, and investigates the extent to which it was judged harshly for translating the disaster into a formulaic cop show. Deep-seated assumptions about genre, narrative form, the burden of representation and popular ideas about this particular locale inform the reception of these genre fictions.
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Zywert, Aleksandra. "Centrum i peryferia. Obraz Moskwy w powieści Dmitrija Głuchowskiego Tekst." Kultury Wschodniosłowiańskie - Oblicza i Dialog, no. 9 (December 20, 2019): 195–208. http://dx.doi.org/10.14746/kw.2019.9.15.
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Text is a novel of manners with elements of a thriller, a noir, and a detective novel (but the above-mentioned complementary elements fulfill only a supportive role, because the criminal intrigue exposed at the very beginning is treated marginally amounts to a starting point for deeper considerations of the psychological and sociological nature). Due to the peculiar presentation of the image of the Center (here: Moscow), Text fits into the vision of Moscow as the core of Russian predatory capitalism, exuberant consumerism, glitz, semblance and ruthless struggle for recognition in the ranking of successful people, which is presented in contemporary Russian literature. Its fundamental value is the fact that the realization of the author's idea is mainly due to the confrontation of megalopolis with images of the periphery, which can be regarded as satellite cities of the capital. In his perception of Russia, Glukhovsky is close to Roman Senchin and, similarly to the latter, he believes that the traditionally understood center-periphery, city-village conflict is disappearing, because eventually it turns out that (despite the spatial and social diversity) none of these places (mainly because of conspicuous regressive tendencies) does not give a person a chance for free development and self-realization.
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Mišikova, Katarina. "Red is the New Black. Storytelling and Style in Candidate (2013) and The Red Captain (2016)." Panoptikum, no. 19 (June 30, 2018): 69–77. http://dx.doi.org/10.26881/pan.2018.19.05.
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The non-existence or deficiency in the production of popular genres in the history of Slovak cinema after the split from Czech Republic in 1993 has been a much discussed subject in the Slovak filmmaking community. It is a common belief among both filmmakers and film critics, that due to the lack of popular genre traditions and financial difficulties of film production, Slovak cinema is not able to attract domestic audiences and is primarily focused on the arthouse and festival circuit. This overt simplification, however, has in recent years been challenged by the emergence of several films that introduced generic novelties into Slovak cinema.
 The paper deals with two major representatives of this popular genre upheaval that were successful at the box office: the political thriller Candidate (2013) by Jonaš Karasek and the detective story The Red Captain (2016) by Michal Kollar. Both films are literary adaptations touching upon the subject of continuity of the communist regime after the democratic turn in 1989. Although not unanimously critically praised, they both gained considerable attention thanks to presenting an alternative to the realistic arthouse social drama trend of Slovak fiction film. The text examines innovations that these films introduced into popular genre discourse of Slovak cinema by concentrating on prominent storytelling and stylistic techniques derived mainly from mainstream popular cinema and offer some preliminary thoughts on reasons underlying their successful reception among domestic audiences.
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Zavertaluk, Ninel. "Terra incognita: Ukrainian adventure prose of the first third of the 20th century. Review of the Monograph by Lyudmila Kulakevych «Genre Strategies of Ukrainian Adventure Prose of the First Third of the 20th Century» (Dnipro, 2020)." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 13, no. 22 (2020): 99–102. http://dx.doi.org/10.34079/2226-3055-2020-13-22-99-102.
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The paper reviews the monograph by L. Kulakevych, states the relevance of studies in the field of Ukrainian adventure literature of the first third of the 20th century. The review emphasizes that the monograph is devoted to a virtually unknown but powerful layer of Ukrainian adventure literature of the first third of the twentieth century. Some of the works studied in the monograph are only mentioned in the general reviews of the writers’ literary legacies while the other works remained unknown for the literary critics for almost a century. For instance, such works as «Opovidannia pro Sofochku y Dzhyma» (The Story of Sofochka and Jim) by D. Buzko, «Zaradynei» («For Her Sake») by I. Dniprovskyi, «Vurkahan» («Criminal») by Y. Miakota, «Viter z hir» («Wind from the Mountains») by S. Skliarenko, and «KniazBartsila» (Prince Bartsila) by O. Slisarenko. The importance of the monograph lies in the study of the works against the background of global cultural processes. The first section «The Nature of Genre in Adventure Literature: The Theoretical Aspect» pays special attention to the introduction of the contemporary Ukrainian literary processes into the global trends. In particular, it highlights the increased interest in adventure works, which, according to the literary critics of different countries, remained unnoticed due to colonial and gender discourses, demonstrating, to put it mildly, the «unattractive» side of European cultural expansion. This section also contains a detailed analysis of the existing definitions of «adventure» literature, the author of the monograph works on the disambiguation of the terms concerning «adventure» and providesmore clear and precise definitions. In the second chapter, L. Kulakevych analyzes the novels which, according to her, are the examples of the new genres in Ukrainian literature: frontier, western / eastern, robinsonade, roxolania. In the third section, the author studies the texts-representatives of the printed series, travelogue, and action genres. While analyzing the texts, L. Kulakevich points out the artistic components that serve as markers to attribute the texts to a certain genre. The fourth chapter is dedicated to the innovative quest of Ukrainian writers of the 20-30s of the 20th century, in particular, the development of the new genres in Ukrainian adventure discourse – noir novel, horror, detective, spy narrative, novel-quest. While substantiating the affiliation of the work to a particular genre, the researcher uses the theses of modern foreign experts in the field of literature and cinema to support her ideas. In the fifth chapter, L. Kulakevich investigates the texts, whichcontributedto the Ukrainian fiction with the new genres of chrono-travel, thriller, and alternative history. It is evident, that in the research of L. Kulakevych the Ukrainian adventure literature of the first third of the 20th century appears as an extraordinary and multidimensional phenomenon that synthesized the achievements of world culture and innovations of Ukrainian writers. In general, the monograph is highly praised for up to date factual basis, original approach to the analysis of literary works, and informative presentation.
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Harrison, Chloe. "Finding Elizabeth: Construing memory in Elizabeth Is Missing by Emma Healey." Journal of Literary Semantics 46, no. 2 (2017). http://dx.doi.org/10.1515/jls-2017-0008.
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Abstractby Emma Healey was published in 2014 and won the Costa Award for best first novel. Both humorous and sad, it has been categorised as literary fiction, detective fiction and a psychological thriller, and is thus a “hybrid” genre novel that is difficult to categorise neatly. The novel’s chief protagonist and narrator is Maud, who has dementia. As a narrator Maud is extremely unreliable and often forgets facts and events even as they are unfolding around her. Maud’s memories, however, have a much higher degree of specificity than her present day narratives: they are richer, more detailed, and therefore much more reliable, than the narrative of her current life. Consequently, the novel is characterised by a stylistic contrast between the vague and the specific, the remembered and the forgotten. In order to investigate this contrast, this paper argues that a stylistic account of Cognitive Grammar can shed further light on how Maud’s cognitive habits are represented in the novel, and are represented in the novel, and how these in turn impact upon text-world representation. The analysis draws upon Cognitive Grammar’s construal processes, in particular, to explore the fictive illustration of mind style – and of memory – in this literary context. Finally, this paper considers how one of the particular experiences of reading the narrative is dependent on the “layered construal” prevalent in the text, whereby a reader’s experience of the fictional world is continually contrasted with that of the narrator.
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Calanchi, Alessandra. "Quando manca il detective. La presa in carico dell’investigazione in due racconti americani di fine Ottocento." Linguæ & - Rivista di lingue e culture moderne 19, no. 2 (2021). http://dx.doi.org/10.7358/ling-2020-002-cala.
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A Whisper in the Dark” by Louisa May Alcott (1877) and “The Yellow Wallpaper” by Charlotte Perkins Gilman (1892) offer an interesting, and not sufficiently investigated, perspective from the point of view of crime studies. Too intelligent and complex to be labelled as simple genre literature, and courted by gender studies, the two stories more aptly belong to Literature tout court, although many features normally lead to place them on the shelves of sensational, thriller, or mystery. The reading I propose stems from the desire to give voice to the two protagonists not only as victims of physical and psychological violence, but as active subjects and real Private Eyes within the narrative.
Dissertations / Theses on the topic "Detective-thriller"
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Bronson, IV Theodore Lawrence. "Forgotten Depths." Digital Commons at Loyola Marymount University and Loyola Law School, 2021. https://digitalcommons.lmu.edu/etd/975.
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"The multiplicity of the detective thriller as literary genre." 2003. http://library.cuhk.edu.hk/record=b5896108.
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Kwok Sze-Ki.<br>Thesis (M.Phil.)--Chinese University of Hong Kong, 2003.<br>Includes bibliographical references (leaves 131-138).<br>Abstracts in English and Chinese.<br>Abstract --- p.i<br>摘要 --- p.iii<br>Acknowledgements --- p.v<br>Introduction The Genre of Detective Thriller --- p.1<br>Chapter Chapter One --- The Figure in the Carpet: Agatha Christie's The Murder of Roger Ackroyd --- p.33<br>Chapter Chapter Two --- """Thrillers are like life´ؤmore like life than you are"": Graham Greene's The Ministry of Fear" --- p.68<br>Chapter Chapter Three --- "Cultural and Metaphysical Mysteries: Paul Bowles's ""The Eye"" and Jorge Luis Borges's ""The Garden of Forking Paths""" --- p.99<br>Concluding Remarks --- p.127<br>Bibliography --- p.131
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Bustamante, Juan Pablo. "Kalamary: the resurrection." Thesis, 2018. https://hdl.handle.net/2144/27557.
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Please note: creative writing theses are permanently embargoed in OpenBU. No public access is forecasted for these. To request private access, please click on the lock icon and filled out the appropriate web form.<br>Creative writing<br>2031-01-01T00:00:00Z
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Powell, Audrey Bryant. "The Post-Dictatorial Thriller Form." Thesis, 2012. http://hdl.handle.net/1969.1/ETD-TAMU-2012-05-10920.
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This dissertation proposes a theoretical examination of the Latin American thriller through the framework of post-dictatorial Chile, with a concluding look at the post civil war Central American context. I define the thriller as a loose narrative structure reminiscent of the basic detective story, but that fuses the conventional investigation formula with more sensational elements such as political violence, institutional corruption and State terrorism. Unlike the classic form, in which crime traditionally occurs in the past, the thriller form engages violence as an event ongoing in the present or always lurking on the narrative horizon. The Chilean post-dictatorial and Central American postwar histories contain these precise thriller elements. Throughout the Chilean military dictatorship (1973-1990), the Central American civil wars (1960s-1990s) and the triumph of global capitalism, political violence emerges in diversified and oftentimes subtle ways, demanding new interpretational paradigms for explaining its manifestation in contemporary society.
In Chile, however, despite a history ripe with the narrative elements of the thriller, a consistent thriller novelistic tradition remains underdeveloped. My research reveals that contemporary Chilean ? and by extension, Latin American ? fiction continues to be analyzed under the aegis of melancholy and the tragic legacy of dictatorship or revolutionary insurgency. Therefore, a theoretical examination of the post-dictatorial/postwar thriller answers the need to not only move beyond previously established literary and political paradigms toward a more nuanced engagement with the present, but to envision a form of thinking beyond national tragedy and trauma.
This dissertation analyzes samples of the post-dictatorial detective narrative and testimonial account, which constitute the mirroring narrative components of the thriller. The detective texts and testimonial writings analyzed in this project demonstrate how the particular use of the detective story and testimonial account mirror one another at every fundamental level, articulating what I am theorizing as the thriller structure. Using the theoretical approximations of John Beverley, Brett Levinson, Alberto Moreiras, Jon Beasley-Murray, Michel Foucault, Giorgio Agamben, Carl Schmitt and Carlo Galli, this project makes an original inquiry into why the thriller emerges as the most apt narrative framework for exploring the forms of violence in present-day Latin America.
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Lundin, Britta Kjersten. "Lost pines." 2013. http://hdl.handle.net/2152/22729.
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This report summarizes the script development, pre-production, production, and post-production stages of making the short film Lost Pines. The short was produced as my graduate thesis film in the Department of Radio-Television-Film at The University of Texas at Austin in partial fulfillment of my Master of Fine Arts degree in Film Production.<br>text
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Chigidi, Willie L. "The emergence and development of the Shona detective story as a fictional genre in Zimbabwean literature." Diss., 1997. http://hdl.handle.net/10500/16468.
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This study b·aces the development of the Shona clctective story as a genre different from rhe mainstream
Shona novel. The Shona detective story emerges from the non-detective traditional folktale and
develops into rhree types, namely, the rudimentary form. the pure 'whoduniC, and the detectivethriller.
An attempt is made to show that when the Shona detective story first appeared it was quite elementary
and showed signs of me influence of Shona traditional folklore. But later on authors developed the
detective narrative into pure 'whodunits' and detective-mrillers which showed influence of Western
ftlms and English detective stories.
The study ends with the argument that although at its highest level of development the Shona detective
story manifests characteristics that make it a unique genre different from other Shona novels its
treatment of female characters is not very different from their treatment in the mainstream Shona
novel.<br>African Languages<br>M.A. (African Languages)
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Bourque-Alvear, Alexandra. "Le film d'enquête portant sur les tueurs en série : l'avènement d'un sous-genre et l'exception de Zodiac." Thèse, 2012. http://hdl.handle.net/1866/8866.
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Ce mémoire a comme objectif premier, l’étude du film d’enquête sur les tueurs en série. Plus spécifiquement, le mémoire examine le cas du film Zodiac réalisé par David Fincher en 2007. En procédant par analyses comparatives portant sur la structure narrative, les thématiques et les mécanismes de réception du film d’enquête, nous avons tenté de mettre en lumière des hypothèses quant à l’insuccès commercial de Zodiac. La première section de l’étude examine la spécificité et les fonctions propres au film d’enquête sur les tueurs en série et parvient ainsi à tirer la conclusion qu’il prévaut de catégoriser ce corpus d’œuvres comme un sous-genre du film policier. Nous avons étudié la fonction sociale et médiatique des archétypes filmiques du tueur et de l’enquêteur afin d’atteindre une meilleure compréhension de la fascination du public américain pour ce sous-genre. La seconde section du mémoire examine comment Zodiac se détache des conventions génériques et, particulièrement, comment la mise en scène opère une démystification de la figure du tueur en série. De plus, nous avons soulevé le traitement particulier déployé par Zodiac, soit la monstration, par le biais des personnages, du travail spectatoriel de mise en récit de l’enquête. La troisième section vise à démontrer la rupture de l’horizon d’attente du spectateur chez Zodiac ainsi que la chute de l’imaginaire mythique qui est ainsi engendré.<br>This memoir’s main concern is the study of the serial killer movie and, more specifically the case of Zodiac directed by David Fincher in 2007. By proceding with comparative analysis concerning the structure, the themes and the public’s reception, we are able to highlight key elements that may explain Zodiac’s commercial failure. In the first section, we study the elements that are specific to the serial killer movie. Hence, we are able to conclude that this film corpus would be best categorised as a sub-genre of the crime film genre. Furthermore, we study the social and media purposes of the serial killer and detective archetypes to acheive a better understansding of the american public’s fascination towards this sub-genre. The second section investigates how Zodiac breaks away from the generic conventions and how the film narrative demystifies the serial killer figure. We have also brought up the film peculiar form, which, via the characters, illustrates the spectatorial process of mise en récit . The third section studies the way Zodiac establishes a rupture in the spectator’s expectations of the sub-genre and provokes the fall of its collective imagery.
Books on the topic "Detective-thriller"
Book chapters on the topic "Detective-thriller"
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Brown, Jonathan C. "Bleeding the Thriller: Alain Robbe-Grillet’s Intertextual Crimes." In The Art of Detective Fiction. Palgrave Macmillan UK, 2000. http://dx.doi.org/10.1007/978-1-349-62768-4_14.
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"The Detective Thriller: The Kennel Murder Case (1933), The Big Sleep (1946)." In Thrillers. Cambridge University Press, 1999. http://dx.doi.org/10.1017/cbo9780511624414.006.
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Margree, Victoria. "Speculative society, risk and the crime thriller: The Datchet Diamonds." In Richard Marsh, popular fiction and literary culture, 1890-1915. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526124340.003.0005.
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Marsh’s The Datchet Diamonds (1898) weaves together crime and romance elements with a financial plot concerning stock market speculation. Drawing on New Economic Criticism, this chapter argues that the novel is fascinatingly ambivalent in its treatment of speculation, appearing to condemn it as dishonourable and criminal while surreptitiously endorsing the very risk-taking behaviour on which it relies. The novel’s ‘decent-man-tempted’ protagonist is rendered attractive to readers through his willingness coolly to stare down danger and play the odds, putting him in uncomfortable proximity to the models of criminal masculinity that the text presents. As a crime thriller, The Datchet Diamonds works by soliciting readerly enjoyment of exposure to risk: as such, it reveals the limitations of crime scholarship that has focused too narrowly upon ‘ideologically conservative’ detective fiction, pointing instead to the willingness of readers to identify with transgressor-protagonists, to see laws broken and social hierarchies questioned.
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Melman, Billie. "Murder in Mesopotamia." In Empires of Antiquities. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198824558.003.0007.
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Chapter 6 examines the diffusion of ancient Near Eastern history and its archaeological discovery to popular culture. It focuses on the archaeological murder mysteries of Agatha Christie, one of Britain’s top-selling writers and a popular modernist. An amateur archaeologist, Christie took an active part in excavations in Iraq and Syria for nearly three decades, working with her husband, archaeologist Max Edgar Lucien Mallowan. The chapter considers her domestication of the remote past and role as a mediator between archaeology and Mesopotamian antiquity, and a broad and mainly middle-class readership of her “whodunnits”. It draws on her seven imperial archaeological novels set in the Near East, especially in mandate territories, particularly Murder in Mesopotamia, An Appointment with Death, espionage thriller They Came to Baghdad, and archaeological autobiography Come Tell Me How You Live, as well as on other autobiographical and archival material. The chapter demonstrates Christie’s comparison between archaeology and detective work, the archaeologist and the sleuth, and between deciphering a murder and the interpretation of clues to the past. The chapter considers the impact of archaeological imagery and practices on the classical detective story whose heyday coincided with that of the new culture of antiquity, examining Christie’s adaptation of the overarching image of the Tell, or man-made mound, built of layers of human habitation and destruction, as the unifying image in her writing. At the same time as domesticating antiquity, Christie related it to modern technologies of transport and industrialization.