Relevant bibliographies by topics / Romantic thriller

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  1. Journal articles
  2. Books
  3. Book chapters

Academic literature on the topic 'Romantic thriller'

Author: Grafiati
Published: 4 June 2021
Last updated: 10 February 2022

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Journal articles on the topic "Romantic thriller"

1

Park, Douglas, and Dawn Dietrich. "In the Cut." Film Quarterly 58, no. 4 (2005): 39–46. http://dx.doi.org/10.1525/fq.2005.58.4.39.

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Abstract Jane Campion's newest film, In the Cut, confounded critics, as it leaves her familiar territory of Anglo Australia and a high literary mode for New York City and the pop culture associations of a slasher/thriller. Transcending genre, the screenplay and cinematography unconventionally render a psychic landscape of female desire and romantic longing surviving in a male urban wasteland.
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Smith, Paul Julian. "Screenings." Film Quarterly 69, no. 4 (2016): 78–81. http://dx.doi.org/10.1525/fq.2016.69.4.78.

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FQ Columnist Paul Julian Smith traces the changes in queer Mexican cinema since the 1990s and asks: What does it mean for a film to be both queer and mainstream? Recent Mexican features with lesbian, gay, and trans themes pose this question. They are audience-friendly genre movies, either romantic comedies or thrillers, naturalistic in style, apolitical in attitude, and commercially produced in the hope of exhibition in theaters. Reaching out through social media to a queer community of viewers, they also seek to connect closely with their audience. Smith suggests that a new corpus of queer fi
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3

Sloan, Casey. "POSSESSING DRESSES: FASHION AND FEMALE COMMUNITY INTHE WOMAN IN WHITE." Victorian Literature and Culture 44, no. 4 (2016): 801–16. http://dx.doi.org/10.1017/s106015031600022x.

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Margaret Oliphant much preferredThe Woman in White(published serially 1859–1860) toGreat Expectations(published serially 1860–1861). This partiality emerges in a comparative treatment of the texts in her oft-quoted 1862 treatise on sensation fiction, and it rests on the desirability of authors producing thrills using “modest and subtle means” (“Sensation Novels” 569) instead of “by fantastic eccentricities” and “high-strained oddity” (“Sensation Novels” 574). While the existence of an argument against the allegedly regrettable excesses of fantastical narratives will not shock any reader famili
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4

Ryan, Connor. "Dark and gritty/slick and glossy: Genre, Nollywood and Lagos." Journal of African Cinemas 11, no. 3 (2019): 295–313. http://dx.doi.org/10.1386/jac_00022_1.

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Abstract In this article, I am concerned principally with Taxi Driver (Oriahi, 2015), Gbomo Gbomo Express (Taylaur, 2015), Just Not Married (Patrick, 2016), Ojukokoro (Greed) (Olaitan, 2016) as well as Catch.er (Taylaur, 2017). These films are characterized as much by the depiction of clever criminals as the cultivation of a cynical disposition from which transgressions of this sort appear stylish and violence is rendered 'cool'. Almost all of them turn on a scheme to dupe others of a large sum of money, and are punctuated by backstabbing partners in crime, tables turning by chance, edgy armed
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Frenkel, Ronit. "Pleasure as genre: popular fiction, South African chick-lit and Nthikeng Mohlele's Pleasure." Feminist Theory 20, no. 2 (2019): 171–84. http://dx.doi.org/10.1177/1464700119831537.

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The success of popular women's fiction requires a mode of analysis that is able to reveal the patterns across this category in order to better understand the appeal of these books. Popular fiction, like chick-lit, can be contradictorily framed as simultaneously constituting one, as well as many genres, if a genre is the codification of discursive properties. It may consist of romances, thrillers, romantic suspense and so forth in terms of its discursive properties, but popular women's fiction will also have a pattern of similarity that cuts across these forms – that similarity, I will suggest,
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Weatherby, Theodora G., and Elizabeth S. Vidon. "Delegitimizing wilderness as the man cave: The role of social media in female wilderness empowerment." Tourist Studies 18, no. 3 (2018): 332–52. http://dx.doi.org/10.1177/1468797618771691.

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Historically, American wilderness has been conceived as a profoundly masculine landscape and a threat to femininity. Early wilderness discourse stressed landscapes of risk and danger, certainly no place for a woman. Prior to the Romantic era and Transcendentalism, but even in recent history, it was not uncommon for women to avoid venturing into wilderness alone for reasons including personal safety and possible corruption of body and spirit. The introduction of tourism in wilderness allowed people to experience the thrill of the wild while enjoying an element of safety through mitigated risk,
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Frățilă, Lioara. "An Analysis of the Piano Sonata in C Minor, Op. 4 by Frédéric Chopin." Studia Universitatis Babeş-Bolyai Musica 66, no. 1 (2021): 245–72. http://dx.doi.org/10.24193/subbmusica.2021.1.16.

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"The aura of the composer Frédéric Chopin penetrated the Western European musical culture, touching massively other cultures as well, up to the Chinese one; the certainty through which we recognize the thrill of this aura is mostly due to the fact that ”Chopin’s compositions have opened a new era in the piano’s history”. Being present in the Parisian salon with Rossini and Liszt, the great Pole achieved an organic interweaving between the tradition of Austro-German and French music. The analysis of the sonata No. 1 in C-minor op. 4 builds the core of the present study and relevantly denotes th
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Mesi, Agron. "The “Discovery” of Albanians and Their Culture from Western Europe." European Journal of Social Science Education and Research 6, no. 3 (2019): 64. http://dx.doi.org/10.26417/ejser.v6i3.p64-80.

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Although Albanian inhabited areas are almost at the gates of Western Europe, historically, this country’s fate, identity and culture were ignored by Western Europe for almost five centuries, a period when Albanian territories existed as the periphery of the imperial Ottoman domination.The incipience of modernity, in the nineteenth century, was the time to restore the attention of Western Romantic Europe to Albanians and their culture, to their particular language, to the multifarious folk art, to the many crafts, the “magnificent” clothing and the archaic customs of this nation, as well as to
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9

KASSEM, HADI SHAKEEB. "The Sixties in Berlin and in Hollywood: City with a Wall in Its Center—The Attempt to Erase the German Past." Advances in Politics and Economics 4, no. 3 (2021): p49. http://dx.doi.org/10.22158/ape.v4n3p49.

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Berlin was the location in which most of the intelligence operations in Europe have taken place in the first twenty years of the conquest and the Cold War. In November 27, 1958, Khrushchev issued a formal letter to the Allies, demanding that the western Allies evacuate Berlin and enable the establishment of an independent political unit, a free city. He threatened that if the West would not comply with this, the soviets would hand over to the East Germany’s government the control over the roads to Berlin. In the coming months Moscow conducted a war of nerves as the last date of the end of the
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Felcht, Frederike. "Kult, Konflikt und Konversion." European Journal of Scandinavian Studies 43, no. 1 (2013). http://dx.doi.org/10.1515/ejss-2013-0005.

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Abstract Torgrim Eggen’s Hilal (1995) is an early example of literature on the subject of Islam in Norway in its global contexts. As a romantic love story with elements of an action thriller and science fiction in form of future technological inventions, the novel combines an intense reading experience with thought provoking reflections on the role of religion and religious conflicts in secular societies. Based on Almuth Hammer’s ideas on the relationship between religion and literature as well as Jan Assmann’s theses on functions of oral and written language in religions, my essay analyzes th
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Books on the topic "Romantic thriller"

1

Mayer, Jerry. Killjoy: A romantic comedy thriller. Samuel French, 1994.

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Tricks of the trade: A romantic thriller. French, 1985.

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3

Sandra, Brown. Eisnacht: Thriller. Blanvalet, 2009.

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4

Drucker, Johanna. Narratology: Historical romance, sweet romance, science fiction, romantic suspense, supernatural, horror, sensual romance, adventure, thriller, glitz. J. Drucker], 1994.

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5

Pearce, LL. Dangerous Minds: Can you forget your demons in order to save the one you love from a maniac? Primedia E-launch LLC, 2013.

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1953-, Fallahi Nayereh, ed. The Nidus: Cradle of terror. Bonneville Books, 2002.

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Garwood, Julie. Shadow dance: A novel. Ballantine Books, 2007.

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Garwood, Julie. Shadow dance: A novel. Random House Large Print, 2007.

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Garwood, Julie. Shadow Dance. Random House Publishing Group, 2006.

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10

Douglas, Charlotte. A Woman of Mystery: A Memory Away... 2nd ed. Harlequin Enterprises Ltd., 1999.

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Book chapters on the topic "Romantic thriller"

1

Lamberti, Edward. "American Gigolo and the Ethics of Falling in Love." In Performing Ethics Through Film Style. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474444002.003.0011.

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Chapter 7 analyses American Gigolo (1980), Paul Schrader’s third film as a director, following on from Blue Collar (1978) and Hardcore (1979). In comparison with the styles of Blue Collar and Hardcore, American Gigolo, a romantic thriller focusing on the high-class gigolo Julian Kaye (Richard Gere), is stylistically ostentatious, positively exploding with flourishes such as elaborate camera movements, expressive lighting, abundant use of music and striking use of colour, all of which would come to recur throughout Schrader’s work, frequently in the 1980s and periodically thereafter. Drawing on Schrader’s own theoretical work on transcendental style, the chapter shows how analysing the film style of American Gigolo from a Levinasian perspective reveals the ethical drive of Julian’s relationship with his clients, before reflecting on what he gains ethically and what he loses ethically when he turns away from those clients towards a developing love affair with one particular person.
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Glancy, Mark. "Chapter 28." In Cary Grant, the Making of a Hollywood Legend. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190053130.003.0029.

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In the early 1960s, when Cary Grant was at the height of his popularity, he began to worry that he was too old to play the romantic leading man. He would not agree to make Charade (1963) until director Stanley Donen and screenwriter Peter Stone agreed to change the script so that his young co-star, Audrey Hepburn, is seen to chase after him (rather than the other way around). In the wake of the Kennedy assassination, critics found this Hitchcockian comedy-thriller to be too violent, but it was another box-office hit and remains a fan favorite today. He did not consider himself too old to chase young women in his private life, and his relationship with actress Dyan Cannon grew more serious. When journalist Joe Hyams sued him for libel, in response to Grant’s denying that he had been interviewed by Hyams, they reached an out of court settlement. Grant agreed to collaborate with the journalist on the article that eventually emerged as “Archie Leach by Cary Grant,” a lengthy, truthful account of his family background and youth. In another hit comedy, Father Goose (1964), he broke free of his debonair image to play a drunken recluse who must look after schoolgirls stranded in the South Pacific at the beginning of the Second World War. His final film, Walk, Don’t Run (1966), was a gentle comedy set during the Tokyo Olympics, with a lively score by composer Quincy Jones, who became a close personal friend. By the time Walk, Don’t Run was released, he had married Dyan Cannon, and they had a daughter together, Jennifer Grant. This convinced Grant that it was finally time to retire.
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"In commercial terms, Working Title Films, the production company that Tim Bevan helped found and co-chairs, is the most successful UK outt of its generation. From Bridget Jones’s Diary (2001) to Four Weddings and a Funeral (1994), Notting Hill (1999), and Love Actually (2003), from Nanny McPhee (2005), and Bean (1997) to Atonement (2007), and Shaun of the Dead (2004), their lms have made hundreds of millions of dollars. Working Title Films has also been instrumental in creating British stars (Hugh Grant, Keira Knightley) and in talent-spotting writers and directors (Richard Curtis, Joe Wright). Bevan entered the British lm industry via the world of pop promos in the 1980s. Working Title was formed in 1983. The company’s breakthrough came when he and Sarah Radclyffe (his original partner in the company) produced My Beautiful Laundrette (1985). When Michael Kuhn set up PolyGram Filmed Entertainment (PFE) in 1991 with the ambition of creating a European-based “studio” with the reach and distribution repower of a Hollywood major, he looked to invest in Working Title Films. At this point, Radclyffe stepped aside and Bevan’s current business partner Eric Fellner came on board. Under Bevan and Fellner, Working Title Films quickly blossomed. Both producers targeted the international market. The success of Four Weddings and a Funeral was followed by a string of hits. At the same time, they worked with the Coen brothers on lms such as Fargo (1996) and The Big Lebowski (1998), while also overseeing low-budget British successes such as Billy Elliot (2000). When PFE was closed down in 1999, Working Title came under the ownership of Universal, however, Bevan and his team retain extraordinary autonomy. Universal trusted the company to greenlight their own movies up to a reported budget of $35 million. The Working Title lmography is very varied. Spy thrillers, zombie comedies, period dramas, and kids’ movies sit alongside the romantic comedies that have been their biggest successes. In early 2012, when this interview was conducted, Working Title’s slate was as full and varied as ever, wrapping up Anna Karenina, preparing Les Misérables, discussing a new Bridget Jones, and working full throttle on Ron Howard’s Formula One racing movie, Rush." In FilmCraft: Producing. Routledge, 2013. http://dx.doi.org/10.4324/9780240823881-4.

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