Film noir is a particularly American stylistic phenomenon (although named by French film critics) that permeated nearly every major, minor and independent Hollywood studio production from 1940 through the early 1960s. The author examines the best noir film from each studio and includes each studio's history, a meticulous plot outline and information on the careers of each studio's star roster. He also comments on producers, directors, screenwriters, camera men, composers, art and set directors and presents stills that represent the noir style. The book also has a discussion of independent productions and the second best film noirs of major and minor studios.

This book represents the first serious consideration of the 'domestic noir' phenomenon and, by extension, the psychological thriller. The only such landmark collection since Lee Horsley's The Noir Thriller, it extends the argument for serious, academic study of crime fiction, particularly in relation to gender, domestic violence, social and political awareness, psychological acuity, and structural and narratological inventiveness. As well as this, it shifts the debate around the sub-genre firmly up to date and brings together a range of global voices to dissect and situate the notion of 'domestic noir'. This book is essential reading for students, scholars, and fans of the psychological thriller.

In this essential study of film noir, editors Alain Silver and James Ursini select the most significant and influential articles on the movement from their highly respected Film Noir Reader series and assemble them into a single, convenient, heavily illustrated volume. Still included, of course, are many rare early articles and such seminal essays as Borde and Chaumeton's “Towards a Definition of Film Noir” from Panorama du Film Noir Americain, Paul Schrader's “Notes on Film Noir ” and “Paint It Black: the Family Tree of the Film Noir” by Raymond Durgnat. With newer studies such as “Lounge Time” by Vivian Sobchack, “Manufacturing Heroines in Classic Noir Films” by Sheri Chinen Biesen, and “Voices from the Deep: Film Noir as Psychodrama” J. P. Telotte, this collection of over 30 articles probes this most influential American film movement from varying angles: formalist, feminist, structuralist, sociological, and stylistic; narrative-thematic historical, and even from the point of view of a pure aficionado. There is something in this volume for every student or devotee of film noir. Plus like the readers that have proven an invaluable tool for academics planning a syllabus, it can serve as the most complete core text for any of the myriad of film noir courses taught throughout the world.

Alfred Hitchcock was a major figure in the development and flourishing of film noir. His noir films became an inspirational foundation of the neo-noir movement beginning in the 1970s, from Brian de Palma's mash-up homages to Hitchcock originals such as Obsession (1976) and Body Double (1984) to the dark political thrillers of the era that explore the underside of American life, all of which owe a substantial debt to Hitchcock. However, the central role of Hitchcock in the long history of film noir has seldom been acknowledged in work devoted to his career and noir criticism more generally. Instead, there has been a tendency to consider Hitchcock's many dark thrillers and crime melodramas as sui generis, that is, as "e;Hitchcock films"e; that are somehow separate and distinct from industry trends. But this is to take a narrow view of the director's accomplishments that underestimates his substantial contributions to film history. Alfred Hitchc ock and Film Noir will be the first book-length treatment of the impressive corpus of Hitchcock noir films considered as such, as well as of his connection more generally to the emergence and flourishing of this important cinematic trend.

Residents of Philadelphia have been nagging Akashic Books for years to see their own entry in the award-winning Noir series. The time has finally arrived - but the city must beware as there may be no recovery from the tarnishing of this collection of 15 original crime stories. Features brand-new stories by Diane Ayres, Cordelia Frances Biddle, Keith Gilman, Cary Holladay, Solomon Jones, Gerald Kolpan, Aimee LaBrie, Halimah Marcus, Carlin Romano, Asali Solomon, Laura Spagnoli, Duane Swierczynski, Dennis Tafoya and Jim Zervanos.

“Haunting” stories about crimes that are “often submerged in the greater tragedy of a beautiful city constantly torn within and without by violence” (Publishers Weekly). Beirut is a city both urban and rural, a city of violence and forgiveness, memory and forgetfulness, war and peace. This short story collection, rich with moody suspense, brings this Middle Eastern city and its troubled history to vivid life—revealing the vast maze of the city that can’t be found in tourist brochures or hazy, nostalgic depictions of Beirut. Featuring brand-new stories by Rawi Hage, Mohamad Abi Samra, Leila Eid, Hala Kawtharani, Marie Tawk, Bana Baydoun, Hyam Yared, Najwa Barakat, Alawiyeh Sobh, Mazen Zahreddine, Abbas Beydoun, Bachir Hilal, Zena El Khalil, Mazen Maarouf, and Tarek Abi Samra. “The Lebanese authors featured in the collection draw from a much broader palette of Beirut life, and, true to the genre, they tap into their city’s dark past and uncertain present. Some stories are absurd and humorous, but almost all are haunted in some way by a nagging memory, a war, a death.” —The National

Nothing in the post-war decades reveals the underbelly of Australian life the way police records do. Small time heists. Failed robberies. Runs of bad luck. Payback. Love gone wrong. Drink, drugs and late-night assignations. Cops doing their job well. And badly. Plausible lies, unlikely truths. Murder and misadventure. In Suburban Noir Peter Doyle – author of City of Shadows and Crooks Like Us – explores the everyday crime and catastrophe that went on in the fibro and brick veneers, the backyards, bedrooms, vacant lots and pokie palaces of 1950s and 1960s Sydney suburbia. Extensive research into forensic archives, public records and the private papers of the late Brian Doyle (1960s detective, later assistant commissioner of police, and Peter Doyle’s uncle) also reveals important new information about two of the most famous crimes in Australian history – the Kingsgrove Slasher case and the Graeme Thorne kidnap-murder. 'A fabulous insight into violent crimes of the 1950s and 1960s through the eyes of one of Australia's then top cops, Brian Doyle, as interpreted and related by his nephew, true-crime writer, curator and crime aficionado, Peter Doyle. Often accompanied by great photos and drawings, each story is a gem that highlights the differences in criminal activity and police investigations in those days. Well researched and eminently readable.' — Mark Tedeschi 'A beautifully written and illustrated book about crime and crime scenes in Sydney during the 1950s and ’60s, some of them involving the author’s famous uncle, the detective Brian Doyle. It is a fascinating snapshot of the culture of Australia in those years, describing in words and images the cars, clothes, architecture, music, drugs, language and prejudice of the period. At times engrossing, macabre, absurdly funny and sadly shabby. The pictures are a mixture of crime scene photographs and Peter Doyle’s finely rendered pencil and ink versions of some of these photographs.' — Reg Mombasa 'With these shocking, at times heartbreaking, stories of very bad things happening to ordinary people, our foremost crime chronicler Peter Doyle shines his forensic spotlight on the schemers, slashers, killers and cops who have always lurked in the shadows of sunny Sydney suburbia.' — Larry Writer, author of Underbelly Razor: Tilly Devine, Kate Leigh and The Razor Gangs 'Suburban Noir brings a hidden Sydney to vivid life, deep-diving into the forensic record to reveal a mid-century suburbia of undercurrents, secrets and lives gone astray. Meticulously attentive, compassionate and humorous: no one writes crime like Peter Doyle.' — Vanessa Berry ‘I devoured this book, which will appeal to lovers of Sydney’s history and to fans of Teju Cole’s Small Fates. Doyle writes about the way small flashes of violence reveal the id beneath the city’s ordinary places. Most excitingly, he insists that crime scene photography has its own moral aesthetic, bearing witness to sites where darkness has already won.’ — Delia Falconer 'In lucid, inventive yet artless prose, Doyle reveals Australian mid-century suburbia — specifically Sydney’s south-west — in a whole new light. Suburban Noir is a grainy, lyrical excavation of a landscape that might appear familiar to those who lived through it, or who have seen its myriad mostly idealised representations on screen.' — Fiona Kelly McGregor

Brand new stories by: Ken Bruen, Eoin Colfer, Jason Starr, Laura Lippman, Olen Steinhauer, Peter Spiegelman, Kevin Wignall, Jim Fusilli, John Rickards, Patrick J. Lambe, Charlie Stella, Ray Banks, James O. Born, Sarah Weinman, Pat Mullan, Gary Phillips, Craig McDonald, Duane Swierczynski, Reed Farrel Coleman, and others. Irish crime-fiction sensation Ken Bruen and cohorts shine a light on the dark streets of Dublin. Dublin Noir features an awe-inspiring cast of writers who between them have won all major mystery and crime-fiction awards. This collection introduces secret corners of a fascinating city and surprise assaults on the "Celtic Tiger" of modern Irish prosperity. "The stories paint a picture of Dublin as the Celtic Tiger, a beast crouched on its hind legs about leap at you and roaring with its intensity . . . The cynicism and despair of classic noir is portrayed within each of these stories." --Metro LA "Dublin Noir is perhaps the best short story anthology I've read." --Reviewing the Evidence

Pittsburgh has recently been called 'the most liveable city in America' - yet the old image of smoky skies and steel mills spewing forth grit has never quite disappeared. Its history as a dirty industrial centre is part of its inhabitants - and part of their toughness. The people of the steel city fight. What is Pittsburgh to noir and noir to Pittsburgh? It certainly has its rough streets and grisly murders. But dark crime stories depend on something in addition to killing. In Pittsburgh Noir, the real story is the dark underbelly of existence.

In The American Roman Noir, William Marling reads classic hard-boiled fiction and film in the contexts of narrative theories and American social and cultural history. His search for the origins of the dark narratives that emerged during the 1920s and 1930s leads to a sweeping critique of Jazz-Age and Depression-era culture. Integrating economic history, biography, consumer product design, narrative analysis, and film scholarship, Marling makes new connections between events of the 1920s and 1930s and the modes, styles, and genres of their representation. At the center of Marling's approach is the concept of "prodigality": how narrative represents having, and having had, too much. Never before in the country, he argues, did wealth impinge on the national conscience as in the 1920s, and never was such conscience so sharply rebuked as in the 1930s. What, asks Marling, were the paradigms that explained accumulation and windfall, waste and failure? Marling first establishes a theoretical and historical context for the notion of prodigality. Among the topics he discusses are such watershed events as the trial of Sacco and Vanzetti and the premiere of the first sound movie, The Jazz Singer; technology's alteration of Americans' perceptive and figurative habits; and the shift from synecdochical to metonymical values entailed by a consumer society. Marling then considers six noir classics, relating them to their authors' own lives and to the milieu of prodigality that produced them and which they sought to explain: Dashiell Hammett's Red Harvest and The Maltese Falcon, James M. Cain's The Postman Always Rings Twice and Double Indemnity, and Raymond Chandler's The Big Sleep and Farewell My Lovely. Reading these narratives first as novels, then as films, Marling shows how they employed the prodigality fabula's variations and ancillary value systems to help Americans adapt--for better or worse--to a society driven by economic and technological forces beyond their control.