Featuring rumpled PIs, shyster lawyers, corrupt politicians, double-crossers, femmes fatales, and, of course, losers who find themselves down on their luck yet again, film noir is a perennially popular cinematic genre. This extensive encyclopedia describes movies from noir's earliest days – and even before, looking at some of noir's ancestors in US and European cinema – as well as noir's more recent offshoots, from neonoirs to erotic thrillers. Entries are arranged alphabetically, covering movies from all over the world – from every continent save Antarctica – with briefer details provided for several hundred additional movies within those entries. A copious appendix contains filmographies of prominent directors, actors, and writers. With coverage of blockbusters and program fillers from Going Straight (US 1916) to Broken City (US 2013) via Nora Inu (Japan 1949), O Anthropos tou Trainou (Greece 1958), El Less Wal Kilab (Egypt 1962), Reportaje a la Muerte (Peru 1993), Zift (Bulgaria 2008), and thousands more, A Comprehensive Encyclopedia of Film Noir is an engrossing and essential reference work that should be on the shelves of every cinephile.

What is film noir? With its archetypal femme fatale and private eye, its darkly-lit scenes and even darker narratives, the answer can seem obvious enough. But as Ian Brookes shows in this new study, the answer is a lot more complex than that. This book is designed to tackle those complexities in a critical introduction that takes into account the problems of straightforward definition and classification. Students will benefit from an accessible introductory text that is not just an account of what film noir is, but also an interrogation of the ways in which the term came to be applied to a disparate group of American films of the 1940s and 1950s.

Individual reviews of 90+ films created and released before 1941 are included here in the first title-by-title reference guide to the forerunners of film noir. Silent Hitchcock thrillers and German expressionist masterpieces, French poetic realist dramas and forgotten Hollywood B-movies, pseudo-Freudian gangster films and costume melodramas are among the works covered. The collection spans subgenres and cultures of filmmaking, aiming to demonstrate that the roots of noir were sown far and wide, long before the lasting and mysterious genre flowered in America during the war years.

When viewers think of film noir, they often picture actors like Humphrey Bogart playing characters like Sam Spade in The Maltese Falcon, the film based on the book by Dashiell Hammett. Yet film noir is a genre much richer. The authors first examine the debate surrounding the parameters of the genre and the many different ways it is defined. They discuss the Noir City, its setting and backdrop, and also the cultural (WWII) and institutional (the House UnAmerican Activities Committee, and the Production Code Administration) influences on the subgenres. An analysis of the low budget and series film noirs provides information on those cult classics. With over 200 entries on films, directors, and actors, the Encyclopedia of Film Noir is the most complete resource for film fans, students, and scholars.

Film noir_literally 'black cinema'_is the label customarily given to a group of black and white American films, mostly crime thrillers, made between 1940 and 1959. Today there is considerable dispute about what are the shared features that classify a noir film, and therefore which films should be included in this category. These problems are partly caused because film noir is a retrospective label that was not used in the 1940s or 1950s by the film industry as a production category and therefore its existence and features cannot be established through reference to trade documents. The Historical Dictionary of Film Noir is a comprehensive guide that ranges from 1940 to present day neo-noir. It consists of a chronology, an introductory essay, a bibliography, a filmography, and over 400 cross-referenced dictionary entries on every aspect of film noir and neo-noir, including key films, personnel (actors, cinematographers, composers, directors, producers, set designers, and writers), themes, issues, influences, visual style, cycles of films (e.g. amnesiac noirs), the representation of the city and gender, other forms (comics/graphic novels, television, and videogames), and noir's presence in world cinema. It is an essential reference work for all those interested in this important cultural phenomenon.

The behind-the-scenes story of the quintessential film noir and cult classic, Billy Wilder’s Double Indemnity—its true crime origins and crucial impact on film history—is told for the first time in this riveting narrative published for the film's 80th anniversary. From actual murder to magazine fiction to movie, the history of Double Indemnity is as complex as anything that hit the screen during film noir’s classic period. A 1927 tabloid sensation “crime of the century” inspired journalist and would-be crime-fiction writer James M. Cain to pen a novella. Hollywood quickly bid on the film rights, but throughout the 1930s a strict code of censorship made certain that no studio could green-light a murder melodrama based on real events. Then in 1943 veteran scriptwriter and newly minted director Billy Wilder wanted the story for his third movie. With tentative approval from the studio he hired hardboiled novelist Raymond Chandler to co-write a script that would be acceptable to industry censors. Director Wilder then cajoled a star cast into coming aboard: the incomparable Barbara Stanwyck in her unforgettable turn as the ultimate femme fatale; alongside Fred MacMurray, going against type as her accomplice; and Edward G. Robinson as a dogged claims investigator. Wilder kept Chandler on for the entire shoot, and other key collaborators were cinematographer John Seitz, costume designer Edith Head, and composer Miklôs Rôzsa. With all these talented contributors, the final film became one of the earliest studio noirs to gain critical and commercial success, including being nominated for seven Oscars. It powerfully influenced the burgeoning noir movement, spawned many imitators, and affected the later careers of all its cast and crew. Double Indemnity’s impact on filmmakers and audiences is still felt eight decades since its release. Authors Alain Silver and James Ursini tell the complete, never-before-told history of writing, making, and marketing of Double Indemnity in their latest and most provocative work on film noir: From the Moment They Met It Was Murder.

A marvelous actress, Gloria Grahame (1923-1981) was also an iconic figure of film noir. Her talents are showcased in several classic motion pictures of the 1940s and 1950s, including It's a Wonderful Life, Crossfire, In a Lonely Place, The Greatest Show on Earth, The Big Heat, Oklahoma!, and The Bad and the Beautiful, for which she earned an Academy Award. This comprehensive overview of Gloria Grahame's life and work examines each of her feature films in detail, as well as her made-for-television productions, her television-series appearances and her stage career. Also discussed are the varied ways in which Grahame's acting performances were affected by her tumultuous personal life--which included four marriages, the second to director Nicholas Ray and the fourth to Ray's stepson Anthony.

In the 25th century the human species, long exiled from the devastated Earth, sent a fleet of robot probes on voyages of discovery. Their objective was to find another planet suitable for terraforming and eventual human habitation. Ninety years later, across the empty oceans of space, the Tau Ceti probe reported success. Now, in the year 2531, a human expedition led by Captain Leonie Strider sets off from Jupiter orbit to claim humanity's first colony world outside the Solar System. But their progress is rudely halted by a hyperspace portal that snatches them millions of parsecs off course -- and into the middle of a galactic conflict . . . in someone else's galaxy. They must decide whether to stay and fight or to try to find their way home. But first they must survive . . . At the publisher's request, this title is sold without DRM (Digital Rights Management). [Strider's Galaxy] discards restraint and lets rip. Unashamedly occupying the pure entertainment end of the spectrum, this is a primary-colors read -- exotic, extravagant, zingy. Pipe-and-slippers science fiction it isn't. ----Stan Nicholls, Time Out

Galileo, Einstein, Curie, Darwin, Hawking—we know the names, but how much do we really know about these people? Galileo gained notoriety from his battle with the Vatican over the question of heliocentrism, but did you know that he was also an accomplished lute player? And Darwin of course discovered the principle by which new species are formed, but his bold curiosity extended to the dinner table as well. (And how many people can say they've eaten an owl!) In Eureka! John Grant—author of Debunk It!, Discarded Science, Spooky Science and many others—offers fifty vivid portraits of groundbreaking scientists, focusing not just on the ideas and breakthroughs that made them so important but also on their lives and their various...quirks.

Captain Leonie Strider and her crew, stranded in a galaxy millions of parsecs from the Solar System, have helped the so-called Ancient Species of The Wondervale defeat the tyrannical Autarch Nalla. But all too soon the remaining warlords are fighting among each other. Before too long the genocidal Kaantalech emerges as the new Autarch. With the outcome looking desperate for the Ancient Species, only Strider and a handful of crewmates decide to remain in The Wondervale to help. If she is to lead the Ancient Species to victory and restore order to The Wondervale, Strider must not only battle the colossal power of Kaantalech but also find a way to overcome an even older danger that threatens to destroy them all . . . At the publisher's request, this title is sold without DRM (Digital Rights Management). Combining high-powered space action, a gaggle of bizarre aliens -- both friend and foe -- and passions that are all too recognizably human, Strider's Universe continues the epic space opera begun in Strider's Galaxy, of which Stan Nicholls wrote in Time Out: [Strider's Galaxy] discards restraint and lets rip. Unashamedly occupying the pure entertainment end of the spectrum, this is a primary-colors read -- exotic, extravagant, zingy. Pipe-and-slippers science fiction it isn't.