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Noir and the Psycho Thriller
Abstract
Noir and the psycho thriller;“psycho thriller,” subgenre of versatile thriller genre - crime, outward manifestation of internal workings of pathological individual psyche;Thriller, literary phenomenon covering a great deal of territory - different kinds of thrillers;psycho thriller's relationship to other genres - not easy to delineate, Robert Bloch's landmark crime thriller, Psycho (1959);two key writers in transitional zone, Jim Thompson and Patricia Highsmith - between noir and the psycho thriller;Psycho, the tale of the fatal intersection of worlds between pudgy, forty-ish motel proprietor Norman Bates;Red Dragon's killer, a pitifully lonely middle-aged man, Francis Dolarhyde, slipping into an alternate identity, the titular “Red Dragon”;noir and the psycho thriller - sharing many common features, as brief survey demonstrates
The article presents the results of an analysis of English textbooks used in Sweden and Poland and addresses questions related to their intercultural dimension. The textbooks were subject to content analysis performed with a tool created specifically for this study and providing both qualitative and quantitative data. The findings show some significant differences between textbooks used in the two countries, highlighting the ways Swedish textbooks promote issues related to an intercultural perspective and showing the relative drawbacks of the Polish sample in this respect. The comparative character of the analysis allows for reflection on the role of textbooks in crossing intercultural borders with regard to teaching particular values in different cultural contexts as well as improvements that might be made in this field. The conclusions resulting from the comparative analysis may prove both useful and inspirational for textbook authors and teachers and,
in many ways, innovative in the context of promoting intercultural values in education.
Pogorzelska, M., & M. Adams-Tukiendorf (2021). “Crossing the borders of own culture, stepping on frontiers”: Textbooks and intercultural communication. Beyond Philology - an International Journal of Linguistics, Literary Studies and English Language Teaching, 18/4, 35-60. Available at https://fil.ug.edu.pl/sites/default/files/_nodes/strona-filologiczny/33797/files/beyond_philology_18_4.pdf
This article examines The Foreigner, the 2017 film adaptation of British novelist Stephen Leather’s The Chinaman (1992), starring the Hong Kong/Chinese martial arts film star Jackie Chan. The film reveals a cosmopolitical cinematic revision that foregrounds the contradictions and paradoxes of Yellow Peril, present when the film was made, during the time of Brexit in the United Kingdom. By investigating Chan’s screen persona, which has roots in Hong Kong/Chinese martial arts cinema, I focus on how the film derives and builds upon Chan’s transnational status as a cinema icon to critically engage with the conventional Yellow Peril narrative.
p>Historia powieści hard-boiled i filmu noir sięga lat dwudziestych i trzydziestych XX wieku. Trudne warunki ekonomiczne i polityczne tamtych czasów dały początek nowemu gatunkowi literatury i kinematografii. Klasyczne powieści przedstawiają świat, w którym zbrodnia pozostaje bezkarna, a porządek nigdy nie zostaje przywrócony. Miasto, przedstawione jako labirynt wciągający głównego bohatera, odgrywa ważną rolę w narracji. Samotny detektyw walczy z niesprawiedliwością i często zakochuje się w femme fatale , która wykorzystuje go do własnych celów. Artykuł analizuje historię i ewolucję owego gatunku literackiego oraz próbuje uchwycić prostą sztukę powieści hard-boiled i filmu noir .</p
The following research investigates the possible reasons for a conspicuous boost
of crime fiction in postmillennial Serbia.* Our general hypothesis is that the
socio-political circumstances of the last decade of the 20th century largely contributed to the overall interest in this literary genre since it offers both a vivid depiction
and direct criticism of diverse social phenomena initiated in this period. Thus, the
main objective of the paper is to explore, describe and judge the long-lasting impact
of these social occurrences through a detailed comparative analysis of Tito je umro
(2011; Tito is dead) by Mirjana Novaković and Sibir (2011; Siberia) by Vladimir Kecmanović and to present them as potent catalysts for a necessary social change. The
research method is eclectic: apart from close reading and comparative analysis of the
aforementioned novels, the paper relies on the contextual depiction of Serbian political climate in the 1990s and 2000s, as well as brief theoretical insights into Serbian
postmillennial crime fiction.
The present project explores the large and heterogeneous literary genre of the American crime fiction and its status of 'undefined genre'. Thereby, the main goal to be achieved in this project is the incapability of establishing common patterns in the creation of such literary text. Thus, this project starts with the birth of crime fiction, based on Poe's first criminal text, going on with the great change in its structure, on the part of Hemingway, Chandler and Hammett, and ending up with the uncommon and innovative crime fiction of Thomas Harris's. This thesis traces a line of different patterns to create crime fiction and how this wide genre cannot be categorized by means of fixed patterns since each crime fiction subtype possesses its own features and style of narration. To conclude, this final degree thesis displays a literary fiction that it is usually considered as a minor genre but, indeed, should be considered as one of the most attractive and fruitful genres on account of its magnificent and valuable literary structure. El presente proyecto explora la amplia y heterogénea ficción criminal americana, así como su status de "género indefinido". Así, el objetivo principal a lograr es la imposibilidad de establecer una serie de patrones comunes en el proceso de creación de este tipo de textos literarios. Por consiguiente, este proyecto comienza con el nacimiento de la ficción criminal, basados en los primeros textos criminales de Poe, continuando con el gran cambio sufrido en su estructura de la mano de autores como Hemingway, Chandler y Hammet y llegando la innovadora y no muy común ficción de Thomas Harris. Esta tesis traza una línea de patrones diferentes para crear ficción criminal y como este amplio género no puede ser categorizado a través de patrones comunes, dado que cada subgénero contiene sus propias características y estilo de narración. Para finalizar, esta tesis de fin de grado expone una ficción literaria que es considerada un género menor pero que debería ser reconocido como uno de los más atractivos y fructíferos géneros pues es de gran magnificencia y espléndida estructura. 2
Recent Nordic crime fiction contains numerous amateur detectives who are professional journalists. Their presence is partly explained by the shared roots and formal affinities of crime reportage and crime fiction, and by the journalistic backgrounds of many Nordic crime writers. However, the rise of the journalist-investigator as a rival to traditional police detectives is also a mark of growing distrust in the competence of the Nordic welfare state and its officials. Nordic journalist-investigators are typically crusading reporters motivated by a desire to uncover and prevent social injustice, including the neglect and abuse of vulnerable social groups by absent, incompetent or corrupt public officials. In acting as moral guardians of social justice, journalist-investigators carry out the principle of the press as a fourth estate, designed to check state power by publicising abuses of authority, and signal a possible shift from the welfare state towards a civil society. However, this role is also compromised by the ethical dilemmas journalist-investigators face between the demands of uncovering information, protecting vulnerable witnesses, informing the public, preventing crime and meeting commercial imperatives. These conflicts spotlight troubling tendencies within crime fiction and crime reportage: both kinds of writing are underpinned by a narrative structure of anticipation, suspense and dramatic revelation and premised upon the reader's voyeuristic investment in sensational subjects.
A publicação da primeira edição de Drácula sucede apenas em alguns anos os famosos assassinatos de Whitechapel, que marcam a ação de um dos primeiros e mais famosos serial killers do mundo, Jack, o estripador. Assim como Jack, o vampiro de Bram Stoker ameaça Londres não apenas fisicamente, mas ontologicamente: ainda que não seja um amaldiçoado morto-vivo, Jack é a confirmação de uma ansiedade crescente que Darwin, entre outros, instaurou na sociedade oitocentista, a de que o homem, longe de ser uma criação especial de Deus, era apenas um animal entre outros. Esse homem cujo interior guarda uma besta sedenta por sangue, representado pela literatura vitoriana de vampiros, encontrará seu espelho realista nos assassinos da literatura de crimes que floresce na mesma época, sem dúvida inflamada por casos como os horrendos crimes de Whitechapel. Enquanto o Brasil não se mostra um país pródigo em representações do vampiro propriamente dito, é rico em narrativas que abordam os mesmos medos inspirados por esse predador urbano, chegando, muitas vezes, a incorporar em suas figuras reais traços desses monstros sobrenaturais. Propomos, assim, uma leitura dos predadores urbanos brasileiros à luz dos medos da animalização do homem levantados pela literatura vitoriana, mostrando uma das metamorfoses possíveis do vampiro em território nacional.
La aparición de la tercera edad dorada de la televisión ha permitido a los espectadores conocer de cerca las andaduras de sus héroes y villanos favoritos. En este caso la ficción televisiva Bates Motel (Bates Motel, Anthony Cipriano 2013-2017), se ha propuesto como una precuela televisiva del afamado film de Psicosis (Psycho, Alfred Hitchcock, 1960) donde se presenta al villano Norman Bates como un héroe posmoderno.
Bates Motel se centra, principalmente, en narrar la malsana relación del joven con su madre y los asesinatos que éste comete como consecuencia del inicio de su enfermedad. El thriller original de la novela de Robert Bloch, llevado al cine por el director inglés, es trasladado a la pequeña pantalla cargado de elementos del cine negro clásico.
La serie de televisión gira en torno a los hechos delictivos y criminales que son continuamente encubiertos por Norma Bates. La madre de Norman, personaje desconocido tanto en la obra literaria como en la cinematográfica, es una de las figuras más interesantes de esta ficción, puesto que ocupa el claro rol de femme fatale y se presenta en la historia como un personaje atormentado por un duro pasado.
Asimismo, la narración está envuelta en un ambiente corrupto e incierto y la evolución de los acontecimientos van advirtiendo a la audiencia que la historia no tendrá la resolución deseada. El interés del estudio radica, por tanto, en conocer el universo narrativo que se ha creado en la serie televisiva a partir de la obra original y de desmenuzar los elementos narrativos del género negro en una historia en donde la frontera entre la bondad y la maldad es cada vez más difusa.
Bonnie Jo Campbell’s work, much of it taking place in rural Michigan, has been labeled “country (or rural) noir,” a subcategory of noir fiction. Two stories from Mothers, Tell Your Daughters, “Playhouse” and “To You, as a Woman,” reframe the noir genre not only through their focus on country noir themes but through their concentration on female noir characters. While both stories seem to incorporate the noir motif of the protagonist doomed by his or her making as well as that of the femme fatale, Campbell places her protagonists’ choices within the larger context of a warped culture that limits the power of lower class female protagonists. Campbell depicts a culture different from that of conventional noir in which there is rampant tolerance of violent crime. In the culture Campbell portrays, by contrast, sexual violence against women is not even considered a crime. In these stories, the protagonists begin to come to an incipient awareness of their culture’s crimes.
This paper examines Amir Hafizi’s “The Unbeliever”, one noir story taken from Amir Muhammad’s KL Noir: Red (2013), a noir anthology published in Malaysia. Hafizi’s “The Unbeliever” is a self-claimed noir work contained by noir sensibility with portrayals of postcolonial experiences written from the perspective of contemporary-postcolonial Malaysian society. Both its noir sensibility and postcolonial experiences constitute the darkness and alienation which are commonly associated with noir fiction. Consequently, this paper looks into noir sensibility or noir parameters that construct Hafizi’s “The Unbeliever” and, simultaneously, the inclusion of subversion of the West and East as a fragment of the postcolonial experiences that can also function as noir sensibility. The finding shows that the noir sensibility is manifested, firstly, by the noir theme comprising issues of mysticism and violence and, secondly, by the noir protagonist who is doomed and alienated. Additionally, the mystical East represented by the figure of Nyai Roro Kidul, the Queen of the Sea, has drowned the characters into darkness, chaos and, most importantly, subversion of the West and the East binary. Thus, they impressively shape this story to be a noir narrative with postcolonial issue. © Penerbit Universiti Kebangsaan Malaysia. All rights reserved.
This chapter investigates the French crime film Cortex and the Dutch thriller The Memory of a Killer, in which the main characters are male. Using an approach based on questions of masculinity, ageing, and agency, and drawing on discussions around masculinity in thrillers, crime films, and film noir, this chapter highlights the techniques used by these films to enable the viewer to experience the subjectivity of a person living with Alzheimer’s disease. It also shows how Alzheimer’s disease is employed as a device with which to create suspense. Finally, this chapter illustrates the notion of personhood emerging from these films.
The emergence of noir fiction in Southeast Asian countries has showcased particular evolvement of noir elements. The noir works produced in this region have embraced shifting noir themes and noir protagonists that slightly move away from what formerly constitutes noir fiction. Thus, this study aims at investigating to what extent these two noir elements from noir fiction produced in Southeast Asia has differed from its preceding noir works in the scholarship of noir genre. As a preliminary finding, this study only highlights the shifting noir elements taken from selected noir stories represented by some noir anthologies produced in Southeast Asia. They are KL Noir from Malaysia, Singapore Noir from Singapore, and Manila Noir from the Philippines. The result shows that noir themes have departed from criminality and violence to some other contextualized themes such as supernaturalism, religion, and colonial legacy. Meanwhile, noir protagonists are portrayed as those who are involved with criminality not only as criminals but also as ‘heroes’. Finally, what is discussed in this study is expected to contribute to a larger discussion of fluidity in noir genre, and, also, noir, or darkness, is proven to be derived from various perspectives.
The emergence of noir fiction in Southeast Asian countries has showcased particular evolvement of noir elements. The noir works produced in this region have embraced shifting noir themes and noir protagonists that slightly move away from what formerly constitutes noir fiction. Thus, this study aims at investigating to what extent these two noir elements from noir fiction produced in Southeast Asia has differed from its preceding noir works in the scholarship of noir genre. As a preliminary finding, this study only highlights the shifting noir elements taken from selected noir stories represented by some noir anthologies produced in Southeast Asia. They are KL Noir from Malaysia, Singapore Noir from Singapore, and Manila Noir from the Philippines. The result shows that noir themes have departed from criminality and violence to some other contextualized themes such as supernaturalism, religion, and colonial legacy. Meanwhile, noir protagonists are portrayed as those who are involved with criminality not only as criminals but also as ‘heroes’. Finally, what is discussed in this study is expected to contribute to a larger discussion of fluidity in noir genre, and, also, noir, or darkness, is proven to be derived from various perspectives.
James Ellroy begrudgingly acknowledges the enormous impact that Chandler’s work had on shaping and directing the genre for decades to come. By the time of his death in 1959, Chandler’s writing had been in decline for some years, but through his private detective Philip Marlowe, he had created the standard by which many imitators would be judged. Marlowe was by no means the first hard-boiled detective in American crime fiction: Carroll John Daly’s Race Williams and Dashiell Hammett’s Continental Op came before him, and they in turn were preceded by the now nearly forgotten Jim Hanvey, created by Octavus Roy Cohen, and the African American PI Sadipe Okukenu, from the pen of John E. Bruce. But Chandler’s Marlowe certainly helped to popularise the hard-boiled detective and set the formula that his successors would conform to or consciously deviate from. Chandler could also lay claim to a certain originality in the PI, as Sean McCann argues, ‘The detective who is brash in Daly, and icy in Hammett, is a sorrowful man in Chandler’ (McCann, 2010, p. 53).
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