Relevant bibliographies by topics / Political thrillers

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  2. Dissertations / Theses
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  4. Book chapters

Academic literature on the topic 'Political thrillers'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Political thrillers"

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Kokotkiewicz, Martyna. "Extraordinary Protagonists, Average Issues." Folia Scandinavica Posnaniensia 25, no. 1 (December 1, 2018): 101–11. http://dx.doi.org/10.2478/fsp-2018-0016.

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Abstract Thriller is considered to be a subgenre of criminal fiction, in which the most significant role is played by fast-paced action, suspense, spectacular events. In case of so called international and political thrillers it should also be mentioned that their authors construct their plots around the problems such as global conflicts, international conspiracy, terrorism, the development of nuclear weapon. However, problems commonly mentioned by many authors of other subgenres of criminal fiction, are also present in the novels classified as thrillers. The collapse of well-being society, unstable interpersonal relationships, mental problems of an individual, childhood traumas are therefore often mentioned by the writers, although they do not usually constitute main subjects of the novels. The article concentrates on some examples from international and political thrillers, in which such issues seem to be equally important, written by the most popular Finnish authors of this particular genre, namely Ilkka Remes and Taavi Soininvaara.
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Platten, David. "Wired to the Word: On Reading Thrillers." French Cultural Studies 21, no. 4 (November 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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Willems, Brian Daniel. "Thrilling Objects: The Scales of Corruption in Political Thrillers." Film-Philosophy 21, no. 1 (February 2017): 78–94. http://dx.doi.org/10.3366/film.2017.0032.

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Political thrillers often encourage the feeling that a mere individual has the power to make a difference on a large scale. Caught up in a chain of events they wished they had never uncovered, a protagonist can occupy a position in which their actions have far-reaching consequences, with the rookie CIA analyst accidentally bringing down a whole corrupt political system being only one example. Much of the critical attention these films have garnered falls under the rubric of detective work in that the protagonist is seen as exposing a web of corruption which would otherwise have gone on unnoticed. However, this paper is focused on how the scale of the individual comes into contact with other, larger scales of events. Points of contact between scales are important because they are where change can take place, thus allowing an individual to influence the supra-individual.
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Homberger, Eric. "‘Uncle Max’ and his Thrillers." Intelligence and National Security 3, no. 2 (April 1988): 312–21. http://dx.doi.org/10.1080/02684528808431947.

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Zonn, I. S. "Arctic cinema: from horror through dramas and thrillers To Actiоn movies and fiction (Part II)." Post-Soviet Issues 10, no. 3 (November 24, 2023): 290–309. http://dx.doi.org/10.24975/2313-8920-2023-10-3-290-309.

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The article examines Arctic thrillers, action films and fantasy films. Presented kaleidoscope of horror, drama, thriller, science fiction and action films, with all its plot differences, is united by almost a single location, the Arctic north. Against his background, all maginable and unimaginable events occur. It enhances or weakens the role of what is happening with its whiteness, making the viewer’s screen even whiter. This is an artistic space in which characters are placed and actions, are performed. The silence of the Arctic is its action. The films reviewed are extremely different, responding to the spirit of the time when they were filmed. Their placement about genres is conditional since they all have a cinematic hybridity. Each tape combines all kinds of genres under consideration. We tried to correlate a number of films with temporary political-social processes.
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Homberger, Eric. "English spy thrillers in the age of appeasement." Intelligence and National Security 5, no. 4 (October 1990): 80–91. http://dx.doi.org/10.1080/02684529008432080.

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Zonn, I. S. "Arctic cinema: from horror through dramas and thrillers To Action movies and fiction (Part I)." Post-Soviet Issues 10, no. 2 (September 5, 2023): 185–210. http://dx.doi.org/10.24975/2313-8920-2023-10-2-185-210.

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The article considers a number of genres of Arctic films in the world cinema. Among them, some of the most common are horror films (horror), thrillers (part I), dramas, science fiction and action films (part II). The socio-political climate of the times determined the evolution of genres and influenced their semantic content and structure. Their formation and production flow has a calendar milestone. In the second half of the twentieth century, after the end of the Great Patriotic War, a cold war began between two blocs of states with different socio-economic systems led by the USSR and the USA. It was she who strengthened the militaristic role of the Arctic not only in the military-industrial sphere, but also in the cinematographic one. Hollywood, as part of the political and ideological machine of the United States, immediately responded with its films. The screen was politicized in the general range of Cold War sentiments. Conducting atomic tests, the appearance of the atomic bomb in the USA in 1945 and in the USSR in 1949, “flying saucers” from space, noted in 1947, brought to life horror films, science fiction and drama. The heroes of the films were monsters that descended to earth from outer space or rose from the depths of the ocean, all kinds of mechanical and biological monsters awakened by nuclear tests. In parallel, western cinema constructed models of anti-Soviet orientation. The purpose of the films was to amuse and captivate the viewer into an illusory world and at the same time, to shock, amaze, terrify and excite him with scientific or pseudoscientific fiction. This goal remains the main one for most fantastic horror and thrillers. Some of them preached violence, cruelty, conflict, degradation of the human personality. Aggressiveness, programmed in the person himself, is increasingly, manifested in Arctic thrillers and action film.
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Szewczyk, Grażyna Barbara. "Rzeczywistość i fikcja. Postacie Polaków i Niemców w prozie Magdaleny Parys." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 22 (December 31, 2022): 236–48. http://dx.doi.org/10.24917/20811853.22.15.

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The article presents the Trylogia Berlińska [The Berlin Trilogy] by Magdalena Parys, a Polish writer living in Berlin. The series consists of three thrillers (Tunel, 2011; Magik, 2014; Biała Rika, 2016 [Tunnel, Magician, White Rika]) which critics have described as „political thrillers”. In the multi-threaded plots, set both in the contemporary and historical realities (World War II and the immediate post-war period), Polish émigrés, rooted in the Berlin’s metropolitan area, without complexes and pursuing their professional goals play a special role. The Poles include representatives of the middle generation – Germans of Polish descent, policemen, photographers, journalists who investigate vicious and unsolved murder cases. The confrontation of characters of Polish descent with their German peers, whose parents and grandparents live with the trauma of expulsion or of being a victim of Stasi surveillance, makes the reader think about the memory and the problem of German-Polish relations in the 21st century.
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Connolly, Andrew. "Masculinity, Political Action, and Spiritual Warfare in the Fictional Ministry of Frank E. Peretti." Christianity & Literature 69, no. 1 (March 2020): 53–72. http://dx.doi.org/10.1353/chy.2020.0003.

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Abstract: Like many evangelical authors, Frank E. Peretti claims that his writing is a ministry. While critics and reviewers have noted the way he popularized supernatural thrillers in the evangelical market and enjoyed unprecedented financial success for an evangelical author, they fail to recognize that the specific kind of ministry that Peretti engages in through fiction is new in three key ways: it is masculine, it is political, and it is sectarian. As a result, this paper argues that Peretti is responsible for changing the relationship between fiction authors and their audience within the evangelical market.
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Ihentuge, Chisimdi Udoka. "Changing with changing times: A peep into Nollywood physical film markets in the era of online marketing." Nigeria Theatre Journal: A Journal of the Society of Nigeria Theatre Artists 23, no. 2 (March 7, 2024): 147–60. http://dx.doi.org/10.4314/ntj.v23i2.4.

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At the early stages of Nollywood (the film industry in Nigeria), names of physical film markets were regular in thrillers and posters of films. These include the markets at Upper Iweka Onitsha, Alaba International Lagos, Idumota Lagos, Pound Road Aba and Milverton Avenue Aba. These markets handled the general marketing of the industry. In the present day Nollywood, most of the marketing in the industry are done online. Yet, the names of these physical markets still suffice on the thrillers and posters of Nollywood films. This paper attempts to take a look at the state of the physical film markets in Nigeria in contemporary times. The markets surveyed are the film markets in Electro-Mart Market Onitsha Anambra State (which is a re-location of the market at Upper Iweka Onitsha), Alaba International Market and Idumota Market both in Lagos, and Pound Road and Milverton Avenue both in Aba Abia State. The work is approached through documentary research, observation and interview sessions with the marketers in, and leaders of the markets. It is concluded that despite the fact that activities have grossly dwindled in these physical film markets, they are still very relevant to Nollywood for some other vital functions they perform for the industry. What is missing in these markets is the suitable political environment for the industry. The paper recommends the provision of the enabling economic, natural and, most importantly, political environment for the industry to thrive better in this highly digital era.
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Dissertations / Theses on the topic "Political thrillers"

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Elston, James C. (James Cary). "Bearclaw: a Novel." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc500777/.

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Written in the tradition of American political suspense thrillers such as "Fail-Safe" and "Seven Days In May," "Bearclaw" uses their idealistic and nationalistic elements to tell a story of an American President eager to lead the world's peoples in a quest to achieve man's "highest destiny," the conquest of space. Believing that this common goal will cause mankind to come together in a spirit of brotherhood, he misreads the historical purpose of the United States and, in the end, refuses to recognize the obvious truths of human frailty and ambition even though he has been victimized by them. The Introduction is a brief survey of the sociopolitical and literary forces which combined to create the American political suspense thriller and an attempt to define its place in the literary canon.
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Bowman, Deena. "The Hollywood political thriller during the Cold War, 1945-1962." Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/17734.

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This thesis investigates a corpus of films identifiable as Hollywood political thrillers during the Cold War spanning a period of seventeen years, between 1945 and 1962. It aims to dispel the assertion by critics and scholars that the political thriller originates with the release of The Manchurian Candidate (Frankenheimer, 1962). Moreover, it is my intent to engage an interdisciplinary approach given that the relationship between contemporary American cinema, ideology and propaganda has often been overlooked (see Shaw, 2007). Utilizing textual and contextual analysis, I shall argue that The Manchurian Candidate is a transitional film with respect to the political thriller. I shall also offer an explanation for the frequent mislabeling of Hollywood political thrillers as film noir, of which generic hybridity or overlap is a contributing factor. The first part of this thesis shall establish a political and historical context, which includes a discussion of Hollywood’s early entry into the Cold War, U.S. strategies of containment and the threat women posed to U.S. national security vis à vis Ethel Rosenberg. Given that the political thriller emerged as a distinct subgenre during the Cold War, the first part of this thesis shall include a chapter on technology and innovation (e.g. lighting, format, film stock) as a means of supporting prime generic theme of authenticity. Five exemplary mini-case studies shall be presented to demonstrate the way in which the Hollywood political thriller delivered distinct narrative and visual style that both projected and reflected Cold War discourses. Philip Wylie’s “momism” shall be considered within the context of the political thriller and Cold War discourses surrounding gender, U.S. national security and the atomic bomb. I shall expand upon current discussions of momism, approaching it through distinct representations evident within the political thriller. Given the pervasiveness of the nuclear threat during the Cold War, I shall discuss the thematic elements of fear and the unknowability of the atomic bomb in relation to the political thriller. In the second part of this thesis, I identify three distinct cycles of atomic political thrillers, in which issues of vulnerability of the physical locale, the nuclear family and the mind are addressed.
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Price, Kevin. "Poetic licence and the refuge of truth in the political thriller: A method of examining the role of story in the practice, teaching and study of creative writing." Thesis, Price, Kevin (2020) Poetic licence and the refuge of truth in the political thriller: A method of examining the role of story in the practice, teaching and study of creative writing. PhD thesis, Murdoch University, 2020. https://researchrepository.murdoch.edu.au/id/eprint/56591/.

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This inquiry, through the production of a political thriller/academic novel, and subsequent fictocritical interview with its central character, seeks to provide an illustration of the role of story in creative writing practice, and how it can be applied to both the teaching and study of the discipline. It explores how story, as a social and community resource, is a place where writer meets reader, where knowledge meets understanding, and where values, beliefs and axioms that inform human lives rise to the surface through a shared activity from which both writer and reader learn about themselves and others. I argue that when theories of story are engaged as knowledge in creative writing, as instruments in the production of an artefact, there is a transformative effect on character, writer, and reader. I further argue that story, and the theories that underpin its making, should not only be consciously incorporated in creative writing practice, but should also be a priority in its teaching and study.
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Books on the topic "Political thrillers"

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Michael, Palmer. Political suicide. New York: St. Martin's Press, 2013.

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Schlichter, Kurt. Crisis. USA: Kurt Schlichter, 2020.

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Boschen, Rosa Turner. Volcano: A Political Thriller. Winter Wedding Press, 2023.

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Dayton, Marilyn Wright. Hollow Soul: A Political Thriller. Marilyn Wright Dayton, Author, 2021.

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Wolfe, Leslie. Executive: A Political Thriller. Italics Publishing, 2011.

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Planinsel, Nejc. Uncertain Justice: A Political Thriller. Whitecliff Press, Ltd, 2024.

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The Last Days (Political Thrillers Series #2). Amazon Remainders Account, 2003.

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The Ezekiel Option (Political Thrillers Series #3). Tyndale House Publishers, 2005.

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Grossman, Gary. Executive Treason: A Political Thriller. Simon & Schuster, Incorporated, 2005.

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Spivak, Mark. American Crusade: A Political Thriller. TCK Publishing, 2019.

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Book chapters on the topic "Political thrillers"

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Amir, Lucie. "How Does Crime Fiction ‘talk politics’? Figures of Political Action in Contemporary French Crime Writing." In Contemporary European Crime Fiction, 187–208. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-21979-5_11.

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AbstractWhat can crime stories tell us about the imaginary of political commitment? In France as in other European countries, the connections between writers and radical left activists were a strong feature of 1980s and 1990s crime fiction, in the wake of French néo-polar. In contrast, twenty-first-century thrillers seem to be inhabited by disillusioned and disoriented cops, and undecided or fatal commitments. Rather than exploring political issues emerging from crime fiction, this chapter focuses on the representation of political attitudes themselves in contemporary French Noir, to better understand the role played by uncertainty and disarray in European political sensibilities. The analysis is based on a large corpus of French crime fiction, from the early 1970s néo-polar by Jean-Patrick Manchette, to the novels of Caryl Férey, Dominique Manotti, Frédéric Paulin and Olivier Norek.
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Cable, James. "The Political Influence of the Thriller." In Diplomacy at Sea, 169–75. London: Palgrave Macmillan UK, 1985. http://dx.doi.org/10.1007/978-1-349-07550-8_12.

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Ginway, M. Elizabeth. "The Politics of Resistance in Brazil’s Dystopian Thriller 3%." In Studies in Global Science Fiction, 185–99. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-11791-6_9.

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Nitsch, Cordula. "Content Analysis in the Research Field of Fictional Entertainment." In Standardisierte Inhaltsanalyse in der Kommunikationswissenschaft – Standardized Content Analysis in Communication Research, 265–75. Wiesbaden: Springer Fachmedien Wiesbaden, 2022. http://dx.doi.org/10.1007/978-3-658-36179-2_23.

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AbstractFictional entertainment accounts for a large share of the overall media content and is very popular with the audience. It is highly diverse in form and content, and differs, for example, regarding media type, genre, and target group. Fictional entertainment comprises novels (e.g., thriller, romance), comic books, TV series (e.g., crime series, daily soaps, medical shows, political drama), children’s programs, feature films, cartoons, box office hits, audio plays, etc. Research on fictional entertainment typically concentrates on audiovisual productions, i.e. TV series and movies.
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Echart, Pablo, and Pablo Castrillo. "Homeland: Fear and Distrust as Key Elements of the Post-9/11 Political-Spy Thriller." In Emotions in Contemporary TV Series, 189–204. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1007/978-1-137-56885-4_12.

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Lopes, Rui. "Iconic City Thrillers." In The Construction and Dynamics of Cultural Icons. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463728225_lopes.

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Following Casablanca, throughout the 1940s and 1950s Hollywood produced a wave of thrillers that sought to capitalise on the reputation of foreign cities through exciting tales of romance and intrigue. Converting cities into marketable icons, those thrillers codified the outside world at a time when the United States was expanding its geopolitical reach. This chapter discusses how this process of cinematic iconization both elevated specific cities to myth and limited their meanings by dissociating them from political processes that did not fit the narratives of filmmakers or of the external agents pressuring them in the context of World War II and the early Cold War. It proposes a critical, attentive reading that can make the films’ omissions revealing in themselves.
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"‘The Uncounted’: Romance, realism and uneven development in the political thrillers." In Peripheralizing DeLillo. Bloomsbury Academic, 2022. http://dx.doi.org/10.5040/9781501378409.ch-002.

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Lassner, Phyllis. "Double Agency: Women Writers of Espionage Fiction." In Espionage and Exile. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474401104.003.0003.

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This chapter examines the fiction of Helen MacInnes, Ann Bridge, With different narrative techniques, each of them dramatise ethical and political concerns about the viability of a second world war. They also reshape the genre of spy fiction by creating women protagonists who represent keen insights into narrative and political relationships, particularly deracination, exile, and antisemitism. Their novels respond critically to the way conventional spy thrillers draw heroes and villains as caricatures of good and evil and women as disposable attractions. Each writer engages gender analysis as a significant part of international politics and the genre of spy fiction.
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Lassner, Phyllis. "John Le Carré’s Never-ending War of Exile." In Espionage and Exile. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474401104.003.0005.

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This chapter shows how World War II is a central thematic and political presence in le Carré’s novels. Detailed studies of the expressionist techniques in Call for the Dead (1961) and The Spy Who Came in from the Cold (1963) show how Cold War intrigue is intertwined with unvanquished elements of Fascism that reappear in Britain as double agents now working for East Germany. Villainy and victimhood are also enmeshed as Holocaust survivors betrayed by western indifference turn to Communism, creating the tragic overtones of these political spy thrillers.
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Leitch, Thomas. "Across the Russian Border." In Border Crossing. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474411424.003.0001.

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This chapter explores the concept of “border crossing” in American films about Russia and the Soviet Union. Such Hollywood productions reflected the cultural and political concerns of each particular period of Soviet-American relations. Filmmakers took the approaches of exoticism, universalism, defection, and seduction in their appropriation of Russian culture and Soviet politics. The author explores the different ideological approaches these films display, from pro-Soviet films during World War II to Red-baiting thrillers during the McCarthyite period, many of which curiously portrayed the “Red Menace” without actually mentioning the Soviet Union by name. Along with this survey of Cold War depictions of the USSR, the chapter explores several prominent adaptations of literary works, which – like many more politically-oriented films – celebrate the Russian cultural heritage in an effort to “colonize” the Soviet Union by presenting Russians in universalist terms.
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