Relevant bibliographies by topics / Noir thriller

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Noir thriller'

Author: Grafiati
Published: 24 April 2022

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Journal articles on the topic "Noir thriller"

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McCann, Sean. "The Noir Thriller (review)." Modernism/modernity 9, no. 4 (2002): 704–6. http://dx.doi.org/10.1353/mod.2002.0073.

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Platten, David. "Wired to the Word: On Reading Thrillers." French Cultural Studies 21, no. 4 (2010): 267–75. http://dx.doi.org/10.1177/0957155810378573.

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The appearance in 2003 of 21 Georges Simenon novels in the Bibliothèque de la Pléiade reaffirmed a widespread consensus that French-language crime fiction, especially the roman noir with its vigil over the political and social ills of the nation, had secured its position as an important vector of French cultural history. Its sister genre, the thriller, has fared less well. Justly criticised for its expedient style and limited intellectual horizons, the thriller continues to appeal to a mass readership drawn from all sectors of society.This article locates its attractions in the ways in which we might once have engaged with the adventure stories of our collective youth that furnished our first solitary contact with literary fiction. It argues that our response to narrative suspense in adventure stories consumed in early adolescence is later rekindled and developed in the more adult thrillers of the modern age. Working within a conceptual framework that includes the psychologically based thrillers of Boileau-Narcejac and Sébastian Japrisot juxtaposed with the adrenalin rush of events supplied by Dan Brown and Maxime Chattam, it analyses the different modalities of suspense and their concomitant reading pleasures, concluding that the thriller meets the expectations not of a certain group of readers but of a certain type of reading experience.
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Adamski, Tomasz. "Jordskott. Las zaginionych, czyli przekraczanie granic Nordic noir." Panoptikum, no. 20 (December 17, 2018): 110–18. http://dx.doi.org/10.26881/pan.2018.20.07.

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The TV crime drama is one of the most popular genres for European audiences and arguably also the most culturally sensitive and nuanced. The author in his article analyzes one of the Swedish examples of crime drama called Jordskott. Author interprets it through the prism of the Nordic noir aesthetics while characterizing this concept. In the course of analyzes, however, he notices that the Jordskott series escapes the genre framework and is located somewhere at the intersection of such film aesthetics as: Nordic noir, ecological thriller, horror or fairy tale.
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Nelson, John S. "Four Forms of Terrorism: Horror, Dystopia, Thriller, and Noir." Poroi 2, no. 1 (2003): 79–107. http://dx.doi.org/10.13008/2151-2957.1057.

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Kennedy, Victoria. "“Chick Noir”: Shopaholic Meets Double Indemnity." American, British and Canadian Studies Journal 28, no. 1 (2017): 19–38. http://dx.doi.org/10.1515/abcsj-2017-0002.

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Abstract In early 2014, several articles appeared proclaiming the rise to prominence of a new subgenre of the crime novel: “chick noir,” which included popular books like Gone Girl, The Silent Wife, and Before We Met. However, there was also resistance to the new genre label from critics who viewed it as belittling to women’s writing and to female-focused narratives. Indeed, the separation of female-centred books - whether “chick lit” or “chick noir” - from mainstream fiction remains highly problematic and reflects the persistence of a gendered literary hierarchy. However, as this paper suggests, the label “chick noir” also reflects the fact that in these novels the crime thriller has been revitalized through cross-pollination with the so-called chick lit novel. I contend that chick lit and chick noir are two narrative forms addressing many of the same concerns relating to the modern woman, offering two different responses: humour and horror. Comparing the features of chick noir to those of chick lit and noir crime fiction, I suggest that chick noir may be read as a manifestation of feminist anger and anxiety - responses to the contemporary pressure to be “wonder women.”
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Castells-Talens, Antoni. "Surveillance, Security, and Neo-noir Film: Spike Lee’s ‘Inside Man’ As a 9/11 Counter-narrative." Tripodos, no. 51 (January 27, 2022): 109–28. http://dx.doi.org/10.51698/tripodos.2021.51p109-128.

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After the 9/11 terrorist attacks of 2001, a patriotic narrative permeated all aspects of US society. Planned and executed by the George W. Bush administration and reproduced by the media and by other social institutions, the narrative of the War on Terror permeated all aspects of society with little opposition. A few weeks after the attacks, Congress passed the Patriot Act, a bill that redefined security and surveillance in the United States. The new act contributed to the erosion of civil rights. This article analyzes how Spike Lee’s Inside Man (2006), a film that critics interpreted as a commercial thriller when it was launched, employs resources from film noir and neo-noir to construct a counter-narrative on security and surveillance. Through a plot that causes confusion, a distinct visual style, a typically noir role of the hero, and hidden references to a 9/11 theme, the film borrows elements from classical film noir and from eighties neo-noir to take a firm stand against the US response to the terrorist attacks. The movie removes the mask of the dominant narrative by showing a structurally corrupt system.
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Bilbija, Ksenija. "Argentina, Estocolmo, Netflix y el síndrome de la identidad perdida." Kamchatka. Revista de análisis cultural., no. 11 (July 28, 2018): 459. http://dx.doi.org/10.7203/kam.11.12208.

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Aunque la trama principal de la primera serie policial argentina en Netflix Estocolmo: Identidad perdida (2016) gira alrededor de un referente globalizado—la trata de mujeres-- este thriller noir es una producción cultural del neoliberalismo en como manipula el trauma del pasado dictatorial (1976-1983) a través del uso de los símbolos asociados con la memoria histórica argentina. Además, a través del prisma del síndrome de Estocolmo, la serie propone que las mujeres disfrutan y son cómplices de su propia opresión.
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Vanderschelden, Isabelle. "Screenwriting the Euro-noir thriller: the subtext of Jacques Audiard’s artistic signature." Studies in French Cinema 16, no. 3 (2016): 248–61. http://dx.doi.org/10.1080/14715880.2016.1234175.

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Lara, Jafet Israel. "Con sangre en las manos. La construcción de la novela negra española y mexicana a partir de dos antihéroes sangrientos: Pepe Carvalho y Filiberto García." MVM: Cuadernos de Estudios Manuel Vázquez Montalbán 2, no. 1 (2015): 33–50. http://dx.doi.org/10.5617/mvmcemvm.2531.

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El propósito de este estudio es analizar la configuración de Pepe Carvalho a través del thriller-ensayo Yo maté a Kennedy y del resto de obras protagonizadas por él, y compararla con la de Filiberto García, el primer gran investigador noir mexicano. En dicha comparación se observa que la novela negra española y la mexicana comparten códigos de programas narrativos transgresores de lo policíaco clásico. Por un lado, observamos las acciones de un agente de campo de la CIA inmiscuido en el asesinato del presidente Kennedy y, por el otro, las de un sicario al servicio de la policía política mexicana.
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Charteris, Charlotte. "Sun, sea and sexual deviance: the British noir thriller of the long 1930s." Critical Quarterly 57, no. 3 (2015): 22–34. http://dx.doi.org/10.1111/criq.12210.

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Dissertations / Theses on the topic "Noir thriller"

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Krutnik, Frank S. "'In a lonely street' : 1940's Hollywood, film noir and the 'tough' thriller." Thesis, University of Kent, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.253422.

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Bentolila, Éric. "Le roman policier français de 1970 et 2000 : une analyse littéraire." Thesis, Université Grenoble Alpes (ComUE), 2016. http://www.theses.fr/2016GREAL013/document.

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Le roman policier français entre 1970 et 2000. La thèse suivante procède à l’analyse littéraire de romans policiers français de la fin du XXème siècle. L’intention est alors de montrer que si ces romans policiers peuvent être analysés avec les outils de l’analyse littéraire, ces romans peuvent alors être considérés comme des œuvres littéraires et leurs auteurs comme des écrivains à part entière. Le corpus contient les principaux romans de quatre auteurs répartis sur les quatre dernières décennies du XXème siècle : Jean-Patrick Manchette, Frédéric H. Fajardie, Didier Daeninckx et Tonino Benacquista. Les outils d’analyses choisis sont ceux liés aux personnages de romans, aux lieux dans lesquels se déroulent ces romans et aux différents types d’intrigues proposées par les auteurs. Il s’agit des travaux d’Yves Reuter, d’Isabelle Krzywkowski ou Paul Larivaille. Ces auteurs ont permis l’analyse des textes choisis et ont aussi permis à l’auteur de confronter ces mêmes textes aux outils d’analyse littéraires en usage académique. C’est ainsi que l’analyse littéraire produite par l’auteur permet d’avancer l’idée que les textes des romans policiers, en étant analysés avec ces outils, peuvent faire partie du corpus ordinaire de la littérature<br>The French crime novel from 1970 to 2000The following thesis conducts literary analysis on French crime novels of the late twentieth century. The intention is then to show that if these detective novels can be analyzed with the tools of literary analysis, these novels can then be considered literary works and their authors as writers in their own right. The corpus contains the main novels of four authors spread over the last four decades of the twentieth century: Jean-Patrick Manchette, Frederick H. Fajardie, Didier Daeninckx and Tonino Benacquista. The tools selected for analysis are those related to novels characters, the places in which these novels take place and different types of plots offered by the authors. This is the work of Yves Reuter, Isabelle Krzywkowski and Paul Larivaille. These authors have allowed the analysis of selected texts and also allowed the author to confront these same texts to literary analysis tools in academic use.Thus literary analysis produced by the author allows him to advance the idea that the texts of detective novels, being analyzed with these tools, can be part of the regular corpus of literature
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Aziz, Jamaluddin Bin. "Transgressing women : investigating space and the body in contemporary noir crime thrillers." Thesis, Lancaster University, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.428721.

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Groleau, Catherine. "Les genres cinématographiques comme clés de signification dans l'oeuvre de David Lynch : une étude de Blue Velvet (1986), Lost Highway (1997) et Mulholland Drive (2001)." Master's thesis, Université Laval, 2020. http://hdl.handle.net/20.500.11794/67160.

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Le genre filmique – moteur par excellence de la cinématographie hollywoodienne – s’est imposé, au cours des dernières décennies, comme un champ théorique à part entière des études cinématographiques. Or, sa reconnaissance tardive au sein de la recherche universitaire témoigne du paradoxe structurant le champ cinématographique hollywoodien. En effet, la tension qu’entretient Hollywood entre l’industrie du divertissement et le cinéma d’art se révèle d’une façon particulière à travers la notion de genre cinématographique, qui s’avère à la fois un canevas de fabrication et un espace de création. Ce mémoire vise l’étude du genre filmique selon trois articulations : d’un point de vue institutionnel, d’abord, en questionnant les enjeux du champ cinématographique hollywoodien ; d’un point de vue théorique, ensuite, au moyen d’une plongée au sein des conventions et des procédés de trois genres filmiques ; et finalement, à travers l’analyse d’un corpus de films du réalisateur David Lynch. Ainsi, l’œuvre de Lynch, par son caractère marginal, inclassable et profondément étrange, donnera lieu à un parcours, certes, atypique, mais néanmoins significatif de ces trois niveaux de l’étude du genre filmique, dictant par le fait même une division en deux parties du travail. Dans un premier temps, le mémoire s’attardera à mettre en perspective la définition du champ hollywoodien et la trajectoire de Lynch, ce qui nous permettra d’identifier trois genres filmiques qui présentent un ancrage particulier au sein de la filmographie lynchienne, soit le thriller, le film noir et l’horreur. Dans un deuxième temps, nous procéderons à l’analyse filmique de Blue Velvet (1986), Lost Highway (1997) et Mulholland Drive (2001), trois films qui adoptent la logique de la trilogie en proposant, reprenant, puis aboutissant à un certain nombre de motifs issus des conventions génériques. Ainsi, les grilles de lecture des genres filmiques explorés par le cinéaste permettront d’observer la dimension à la fois classique et expérimentale de l’œuvre lynchienne par rapport à la cinématographie hollywoodienne tout en exposant les innovations du cinéaste à l’égard d’éléments génériques spécifiques.<br>The film genre – the driving force par excellence of Hollywood cinematography – has established itself in recent decades as a theoretical field in its own right in Film Studies. However, its late recognition within academia testifies to the paradox underlying Hollywood cinematography. Indeed, the tension that Hollywood maintains between the entertainment industry and art cinema is revealed in a particular way through the concept of cinematographic genre, which turns out to be both a canvas for production and a space for creation. This thesis aims to study the film genre according to three articulations: first, from an institutional perspective by questioning the challenges within the Hollywood cinematographic field from a theoretical point of view; second, by exploring the conventions and processes of three film genres; and thirdly, through the analysis of a corpus of films by director David Lynch. Thus, Lynch's work, by its marginal, unclassifiable and profoundly strange character, will lay the foundation for an admittedly atypical, but nevertheless significant analysis of these three levels of study of the film genre, thereby dividing this work in two parts. Initially, the thesis will focus on putting into perspective the definition of the Hollywood field and Lynch's trajectory, which will allow us to identify three significant film genres within Lynch’s filmography, namely the thriller, film noir and horror. In a second step, we will proceed with the filmic analysis of Blue Velvet (1986), Lost Highway (1997) and Mulholland Drive (2001), three films which adopt the logic of a trilogy by proposing, summarizing then culminating in a certain number of motifs from generic conventions. Thus, the analytical perspectives from the film genres explored by the filmmaker will allow us to observe both the classical and experimental style of the Lynchian work in Hollywood cinematography while exhibiting the filmmaker's contribution to certain elements of filmic genre.
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Books on the topic "Noir thriller"

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Horsley, Lee. The noir thriller. Palgrave Macmillan, 2009.

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Horsley, Lee. The Noir Thriller. Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230280755.

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The noir thriller. Palgrave, 2001.

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Phillips, Clyde. Fall from grace: A noir thriller. Pocket Books, 1999.

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Bird dog: A car noir thriller. Pocket Star Books, 1997.

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Reed, Philip. Bird dog: A car noir thriller. Pocket Star Books, 1997.

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KOP. Tor Books, 2007.

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KOP. Tor, 2008.

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Reid, John Howard. Mystery, suspense, film noir and detective movies on DVD: A guide to the best in cinema thrills. Lulu Books, 2009.

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Henreid, Paul, Steve Sekely, and Fuchs Daniel. The scar. Kino Lorber, 2017.

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Book chapters on the topic "Noir thriller"

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Horsley, Lee. "Introduction." In The Noir Thriller. Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230280755_1.

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Horsley, Lee. "Literary Noir in the Twenty-First Century." In The Noir Thriller. Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230280755_10.

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Horsley, Lee. "Hard-boiled Investigators." In The Noir Thriller. Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230280755_2.

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Horsley, Lee. "Big-shot Gangsters and Small-time Crooks." In The Noir Thriller. Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230280755_3.

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Horsley, Lee. "Victims of Circumstance." In The Noir Thriller. Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230280755_4.

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Horsley, Lee. "Fatal Men." In The Noir Thriller. Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230280755_5.

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Horsley, Lee. "Fatal Women." In The Noir Thriller. Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230280755_6.

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Horsley, Lee. "Strangers and Outcasts." In The Noir Thriller. Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230280755_7.

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Horsley, Lee. "Players, Voyeurs and Consumers." In The Noir Thriller. Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230280755_8.

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Horsley, Lee. "Pasts and Futures." In The Noir Thriller. Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230280755_9.

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