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Relevant bibliographies by topics / Spy Thriller

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Academic literature on the topic 'Spy Thriller'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 April 2022

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Journal articles on the topic "Spy Thriller"

1

Burton, Alan. "‘Jumping on the Bondwagon’: The Spy Cycle in British Cinema in the 1960s." Journal of British Cinema and Television 15, no. 3 (2018): 328–56. http://dx.doi.org/10.3366/jbctv.2018.0426.

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The article examines the significant cycle of spy thrillers in British cinema in the 1960s. It argues that the success of the early James Bond pictures, which commenced with Dr. No in 1962, initiated a popular cycle of spy films that lasted through the decade. The interest in fictional intrigue generated by the new-style espionage stories of Len Deighton and John le Carré further fuelled the cycle, and there appeared a number of adaptations of these authors’ novels. The article pays particular attention to the critical reception of the cycle and the two styles of Bond-inspired spy thriller and Deighton/le Carré-inspired espionage drama, carefully considering the mounting reviewer fatigue regarding the overworked spy picture and recounting the decline of the cycle.

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Oleg Kashin. "FLYING THE COOP: SPY THRILLER WITH REAL CONSEQUENCES." Current Digest of the Russian Press, The 71, no. 037 (2019): 18–19. http://dx.doi.org/10.21557/dsp.55079621.

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오영숙. "Anti-communism and 1960s Spy Thriller in South Korea." Journal of Popular Narrative ll, no. 22 (2009): 39–69. http://dx.doi.org/10.18856/jpn.2009..22.002.

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Sarchett, Barry W. "Unreading the Spy Thriller: The Example of William F. Buckley, Jr." Journal of Popular Culture 26, no. 2 (1992): 127–39. http://dx.doi.org/10.1111/j.0022-3840.1992.2602127.x.

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Hochscherf, Tobias. "A Casablanca of the North? Stockholm as imagined transnational setting in the British spy thriller Dark Journey." Journal of Scandinavian Cinema 9, no. 3 (2019): 329–47. http://dx.doi.org/10.1386/jsca_00007_1.

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The article examines the largely forgotten British émigré film Dark Journey, its Swedish setting and Scandinavian release. The spy drama, which tells the story of German and French secret agents in Stockholm during World War I by mixing thriller elements with romance, raises a number of questions regarding the representation of spies in a Scandinavian context, Sweden as a contested film market in the later 1930s and the transnational production strategy of films made at the Denham studios in Britain. It is one of the films that helped the profession of secret agents to change its image from a dingy and unchivalrous activity to an adventurous, illustrious and cosmopolitan enterprise. Interestingly, the film offers a very positive portrayal of its German protagonist, played by Conrad Veidt, that is at odds with other Anglo-American spy films but not at all uncommon for Swedish spy fiction.

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Fowler, Martin J. F. "High-resolution satellite imagery in archaeological application: a Russian satellite photograph of the Stonehenge region." Antiquity 70, no. 269 (1996): 667–71. http://dx.doi.org/10.1017/s0003598x00083812.

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The spy satellites — by repute of the thriller writers — have such good image-resolution that they can read the letters on a vehicle licence-plate. A generation after LANDSAT imagery vividly showed broad ecological zones, higher resolution pictures are now being released of a quality to allow practical archaeological application. The example printed here illustrates the Stonehenge landscape — a little patch of southern England that is among the most photographed archaeologically anywhere.

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7

Bhattacharya, Saradindu. "Gender, Genre, and the Idea of the Nation." Pedagogy 21, no. 3 (2021): 549–58. http://dx.doi.org/10.1215/15314200-9131947.

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Abstract This article examines the construction of and contestation over the idea of the nation through contemporary popular cinema in India. Building on his experience of discussing the Bollywood spy thriller Raazi (2018) in an English class, the author proposes that “reading” the film in terms of gender and genre can not only help students apply modes of textual analysis to narratives in other media but also alert them to the location of such narratives within larger discursive frameworks of defining national identities. Raazi presents a critical and ideological counterpoint to the generic conventions of the spy thriller within the increasingly polarized sociopolitical context of the Indian subcontinent. The film presents an unlikely female protagonist as both the physical agent and the psychological subject of the violence integral to the “action” of an espionage film. It also interrogates the oppositional relation between the patriotic “self” and the foreign “other” that lies at the basis of the militaristic conception of the nation and ultimately reveals the shared human vulnerability of both to the traumatic effects of pursuing the idea(l) of nationalism at the expense of individual moral integrity. Thus a close reading of the film's narrative structure and conventions, as well as a critical engagement with the historical context of its production and reception, can be pedagogically fruitful ways of understanding and critiquing the processes through which a nation is collectively imagined into being.

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8

Sandberg, Eric. "“A Terrible Beauty is Born”: Erskine Childers’ The Riddle of the Sands, the Spy Thriller and Modern Identity." English Studies 99, no. 5 (2018): 538–53. http://dx.doi.org/10.1080/0013838x.2018.1475592.

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9

Tanvir, Muhammad Furqan, Waseem Anwar, and Amra Raza. "Simulations, Narrativity and (Post)Modern Historiography: Patterns of Ambivalence in Daniel Silva’s The Unlikely Spy." Linguistics and Literature Review 6, no. 1 (2020): 23–38. http://dx.doi.org/10.32350/llr.61.03.

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This paper aims at locating complex patterns of ambivalence in the narratology of Daniel Silva’s Second World War thriller, The Unlikely Spy, published in 1996, by contending that it recreates a historically justifiable picture of the 1940s in a manner that highlights the typical historicist episteme of the 1990s. This is because its plot retains an apparent structural wholeness as far as the atmospheric evocation through archival research is concerned in spite of the fact that its narratorial focus is informed by characteristic postulates of postmodernist historiography. The argument's theoretical exposition of the latter depends, through an emphasis on notions of simulations, evasions and self-deconstruction, on Jean Baudrillard's proclamation that history’ is no longer possible. The paper employs techniques of qualitative discourse analysis for studying the novel’s narratological patterns and historicist constructs. It shall be seen how, along with narrativity that combines motifs of linearity and temporal-spatial chaos, the text philosophically problematizes the ‘reality’ of the War through an ambivalent intermingling of confrontation and evasion by metonymically representing the entire War-dynamic – completely dispensing with any first-hand account of the uniformed soldiers’ battlefield – in devious circles of executive offices and spies stalking the streets during the blackout. It is further contended that the novel’s historicist vision draws attention to, and even symbolically represents, the ambivalent nature of the relationship between modernism and postmodernism.

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Muhammad Furqan Tanvir, Waseem Anwar, and Amra Raza. "Simulations, Narrativity and (Post)Modern Historiography: Patterns of Ambivalence in Daniel Silva’s The Unlikely Spy." Linguistics and Literature Review 6, no. 1 (2020): 23–38. http://dx.doi.org/10.32350/llr.v6i1.586.

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This paper aims at locating complex patterns of ambivalence in the narratology of Daniel Silva’s Second World War thriller, The Unlikely Spy, published in 1996, by contending that it recreates a historically justifiable picture of the 1940s in a manner that highlights the typical historicist episteme of the 1990s. This is because its plot retains an apparent structural wholeness as far as the atmospheric evocation through archival research is concerned in spite of the fact that its narratorial focus is informed by characteristic postulates of postmodernist historiography. The argument's theoretical exposition of the latter depends, through an emphasis on notions of simulations, evasions and self-deconstruction, on Jean Baudrillard's proclamation that history’ is no longer possible. The paper employs techniques of qualitative discourse analysis for studying the novel’s narratological patterns and historicist constructs. It shall be seen how, along with narrativity that combines motifs of linearity and temporal-spatial chaos, the text philosophically problematizes the ‘reality’ of the War through an ambivalent intermingling of confrontation and evasion by metonymically representing the entire War-dynamic – completely dispensing with any first-hand account of the uniformed soldiers’ battlefield – in devious circles of executive offices and spies stalking the streets during the blackout. It is further contended that the novel’s historicist vision draws attention to, and even symbolically represents, the ambivalent nature of the relationship between modernism and postmodernism.

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Dissertations / Theses on the topic "Spy Thriller"

1

Elston, James C. (James Cary). "The Agolmirth Conspiracy." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc278455/.

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Written in the tradition of the classic spy novels of Ian Fleming and the detective novels of Raymond Chandler, The Agolmirth Conspiracy represents the return to the thriller of its traditional elements of romanticism, humanism, fast-moving action, and taut suspense, and a move away from its cynicism and dehumanization as currently practiced by authors such as John Le Carre' and Tom Clancy. Stanford Torrance, an ex-cop raised on "old-fashioned" notions of uncompromising good and naked evil and largely ignorant of computer systems and high-tech ordinance, finds himself lost in a "modern" world of shadowy operatives, hidden agendas, and numerous double-crosses. He is nevertheless able to triumph over that world when he puts his own honor, his own dignity, and his very life on the line, proving to himself and to his adversaries that such things can still make things easier to see amid today's swirling moral fog.

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2

Cliffe, David. "Thriller, horror, hacker, spy : the 'hacker' genre in film and television from the 1970s to the 2010s." Thesis, De Montfort University, 2018. http://hdl.handle.net/2086/16358.

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This thesis argues that hacking and surveillance have formed a ‘hacker’ genre in film and television that begins to emerge from the influences of 1970s films, forming between the 1980s and 1990s and continuing to develop through to the 2010s, grouping together computer hacking, surveillance and espionage as activities striving to achieve order over the ‘electronic frontier’. In particular, this thesis identifies how hacker genre films foreground and fetishise the technology of hacking and surveillance of the period of production, which inevitably leads to an in-built expiry date and limited shelf-life. Whilst these genre films draw on the crime, horror and thriller traditions to depict the tension and anxiety presented by the capabilities of this hacking and surveillance technology, as technology progresses and becomes more familiar to the audience, these films naturally lose their ability to elicit fear and terror from the viewer; instead these films become virtual parodies of their original intention. Moreover, the thesis maps the evolution and development of the generic features of the hacker film genre, charting the progression from passive observation to active intervention of the hacker figure; as the technology progresses, there is an increased sense of speed and mobility and the hacker emerges from small enclosed spaces to engage with the physical world. Similarly, the thesis considers the role of the ‘hacker figure’ in these films, using the viewer’s human connection to consider how this technology affects the user over time; considering the links to the thriller and horror traditions, this study considers the potential for the hacker to become dehumanised in using this technology.

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3

Baraban, Elena V. "Russia in the prism of popular culture : Russian and American detective fiction and thrillers of the 1990s." Thesis, 2003. http://hdl.handle.net/2429/15156.

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The subject matter of my study is representations of Russia in Anglo-American and Russian spy novels, mysteries, and action thrillers of the 1990s. Especially suitable for representing the world split between good and evil, these genres played a prominent role in constructing the image of the other during the Cold War. Crime fiction then is an important source for grasping the changes in representing Russia after the Cold War. My hypothesis is that despite the changes in the political roles of Russia and the United States, the end of the Cold War and the demise of the Soviet Union continued to have a significant impact on popular fiction about Russia in the 1990s. A comparative perspective on depictions of Russia in the 1990s is particularly suitable in regard to American and Russian popular cultures because during the Cold War, Soviet and American identities were formed in view of the other. A comparative approach to the study of Russian popular fiction is additionally justified by the role that the idea of the West had played in Russian cultural history starting from the early eighteenth century. Reflection on depictions of Russia in crime fiction by writers coming from the two formerly antagonistic cultures poses the problem of representation in its relationship to time, history, politics, popular culture, and genre. The methods used in this dissertation derive from the field of cultural studies, history, and structuralist poetics. A combination of structuralist readings and social theory allows me to uncover the ways in which popular detective genres changed in response to the sentiments of nostalgia and anxiety about repressed or lost identities, the sentiments that were typical of the 1990s. My study of Anglo-American and Russian spy novels, mysteries, and action thrillers contributes to our understanding of the ways American and Russian cultures invent and reinvent themselves after a significant historical rupture, how they mobilize the past for making sense of the present. Drawing on readings of literature and culture by such scholars as Mikhail Bakhtin, Tzvetan Todorov, Siegfried Kracauer, Andreas Huyssen, Fredric Jameson, and Svetlana Boym, I show that differences in Anglo-American and Russian representations of Russia are a result of cultural asymmetries and cultural chronotopes in the United States and in Russia. I argue that Russian and American crime fiction of the 1990s re-writes Russia in the light of cultural memory, nostalgia, and historical sensibilities after the end of the Cold War and the fall of the Soviet Union. Memories of the Cold War and coming to terms with the end of the Cold War played a defining role in depicting Russia by Anglo-American detective authors of the 1990s; this role is clear from the genre changes in Anglo-American thrillers about Russia. Similarly, reconsideration of Russian history became an essential characteristic in the development of the new Russian detektiv.

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Books on the topic "Spy Thriller"

1

Bell, Ted. Spy: A thriller. Pocket Star, 2007.

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2

Spy: A thriller. Atria Books, 2006.

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3

Gomez-Jurado, Juan. God's Spy. Penguin Group USA, Inc., 2008.

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4

Spy for hire: A Mark Sava thriller. Thomas & Mercer, 2013.

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5

Robert, James. The last eyewitness: A true spy thriller. Electronic Media Pub. Co., 1995.

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6

Sheymov, Victor. Tower of secrets: A real life spy thriller. Naval Institute Press, 1993.

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Sheymov, Victor. Tower of secrets: A real life spy thriller. Naval Institute Press, 1993.

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8

Hone, Joseph. The private sector. Collier Books, 1989.

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9

Stone, Nancy-Stephanie. A reader's guide to the spy and thriller novel. G.K. Hall, 1997.

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10

Williams, Amanda Kyle. The spy in question: A Madison McGuire espionage thriller. Naiad Press, 1993.

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Book chapters on the topic "Spy Thriller"

1

Bloom, Clive. "Introduction: The Spy Thriller: A Genre Under Cover?" In Spy Thrillers. Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-21132-6_1.

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E. Moore, Ellen. "The Spy Who Saved Me: Sustainability, Identity, and Intrigue in the Espionage Thriller." In Landscape and the Environment in Hollywood Film. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-56411-1_3.

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Burton, Alan George. "Uncommon Dangers: Alfred Hitchcock and the Literary Contexts of the British Spy Thriller." In Reassessing the Hitchcock Touch. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-60008-6_13.

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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. Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1007/978-1-137-56885-4_12.

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Bradbury, Richard. "Reading John le Carré." In Spy Thrillers. Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-21132-6_10.

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Seed, David. "The Well-Wrought Structures of John le Carré’s Early Fiction." In Spy Thrillers. Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-21132-6_11.

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Jones, Dudley. "Professionalism and Popular Fiction: The Novels of Arthur Hailey and Frederick Forsyth." In Spy Thrillers. Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-21132-6_12.

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Simons, John. "Spy Fiction and the Vietnam War." In Spy Thrillers. Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-21132-6_13.

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Lee, A. Robert. "Cracked Bells and Really Intelligent Detonators: Dislocation in Conrad’s The Secret Agent." In Spy Thrillers. Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-21132-6_2.

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10

Seed, David. "The Adventure of Spying: Erskine Childers’s The Riddle of the Sands." In Spy Thrillers. Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-21132-6_3.

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