Explore the vast range of titles available.

Agatha Christie's work has been adapted extensively resulting in transformations that are both textual and cultural. While many adaptations are best known for being quaint murder mysteries, there are many adaptations of her work that draw on horror aesthetics. This book will look at how the growth of Agatha Christie adaptations have grown increasingly darker. Of key relevance to this study is the work of Sarah Phelps, whose Witness for the Prosecution, And Then There Were None, Ordeal by Innocence, The ABC Murders and The Pale Horse all are darker than their precedents. Born out of their contemporary screen contexts, they use entrenched literary and filmic codes of Gothic horror as central reference points for audiences. Drawing on adaptation scholarship, where adapters are interpreters as well as creators, this study will look at how Agatha Christie is closer to Gothic horror than what we realise. * Analysis of Agatha Christie adaptations and the horror genre. * First major monograph to explore Sarah Phelps work on Agatha Christie. * Explores the transcultural adaptations of Agatha Christie.

Former New Jersey Gov. Chris Christie was caught on a hot mic criticizing his opponents moments before ending his 2024 presidential bid on Jan. 10.

Former New Jersey governor Chris Christie announced the end of his Republican presidential campaign on Jan. 10 in Windham, N.H.

Agatha Christie's work has been adapted extensively resulting in transformations that are both textual and cultural. While many adaptations are best known for being quaint murder mysteries, there are many adaptations of her work that draw on horror aesthetics. This book will look at how the growth of Agatha Christie adaptations have grown increasingly darker. Of key relevance to this study is the work of Sarah Phelps, whose 'Witness for the Prosecution', 'And Then There Were None', 'Ordeal by Innocence', 'The ABC Murders' and 'The Pale Horse' all are darker than their precedents. Born out of their contemporary screen contexts, they use entrenched literary and filmic codes of Gothic horror as central reference points for audiences. Drawing on adaptation scholarship, where adapters are interpreters as well as creators, this study will look at how Agatha Christie is closer to Gothic horror than what we realise.

This book is a comprehensive exploration of 90 years of film and television adaptations of the world's best-selling novelist's work.Drawing on extensive archival material, it offers new information regarding both the well-known and forgotten screen adaptations of Agatha Christie's stories, including unmade and rare adaptations, some of which have.

Despite their central position in the canon of detective fiction, Agatha Christie’s most famous characters, Miss Marple and Hercule Poirot, occupy an ex-centric position in their respective fictional worlds. Both sleuths can be interpreted as marginalized Others and as such challenge the normative assumptions of the society in which they live. Miss Marple’s marginalization is primarily reflected in her gender, her amateur detective work, and her marital status, while Poirot’s Otherness is implied by his foreignness, his effeminacy and his neurodivergence. Both characters can also be interpreted as asexual and analyzed as straight-passing queers. This article explores how Christie uses her detectives’ status as Other to gently challenge the era’s dominant ideas about authority, sexuality, gender and morality. The analysis focuses primarily on the works The Murder at the Vicarage, The Mysterious Affair at Styles, “The Double Clue” and Hallowe’en Party and their film and television adaptations to examine both the textual and subtextual instances of marginalization, and the various attempts to keep the Other within the confines of normative identity.

As alarms about \"internal treachery\" and a possible Fifth Column were raised in Britain near the beginning of World War II, fear of refugees and migrants became nearly ubiquitous. N or M? (1940), Agatha Christie's most accomplished spy novel, reroutes the rising paranoia and fear of foreign spies to channel it against the xenophobic and misogynist tendencies of wartime. In so doing, Christie turns derisive paranoid attention away from some of those groups who were most vulnerable to it in the nerve-wracking spring of 1940: refugees, Irish migrants, and women.

Agatha Christie’s outlook on gender, as depicted in her novels, has been described as conservative or even criticised as anti-feminist. However, more recently, a growing number of feminist scholars (Alison Light, Susan Rowland, Merja Makinen) have begun to oppose this view and instead argue that Christie’s approach to the various social phenomena depicted in her novels, including gender, is more nuanced and ambiguous than previously assumed. This paper explores the role of domesticity in general, and of food, eating and cooking in particular, in constructing such ambiguous portrayal of femininity in three of Agatha Christie’s detective novels: Cards on the Table (1936), The Hollow (1946), and 4.50 from Paddington (1957). The novels depict three groups of female characters possessing varying degrees of power and independence: the salt of the earth, i.e., the conservative homemaker, the eccentric, and the murderess. It is the aim of this paper to demonstrate that, paradoxically, it is o en through these female characters’ roles within the domestic setting and their engagement with food that they are able to overcome the limitations imposed on them by patriarchal society and achieve a certain level of autonomy within it.

This Rebel Girl’s perfectly plotted detective novels gripped her readers, and had everyone asking, ‘Whodunnit?’ We explore who Agatha Christie was. Based on the bestselling books 'Goodnight Stories for Rebel Girls'.