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"Crime drama"
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The place beyond the Pines
A motorcycle stunt rider turns to robbing banks as a way to provide for his lover and their newborn child, a decision that puts him on a collision course with an ambitious rookie cop navigating a department ruled by a corrupt detective.
DVD
American TV detective dramas : serial investigations
The way detectives access and attain the 'truth' about a crime is an important indicator of how they relate to contemporary political developments. This book explores these methods of detection and positions the genre in a specific political, aesthetic, narrative and industrial context.
eBook
La Transición a juicio en la trilogía negra de Juan Madrid: el hard boiled como vehículo para la crítica y la expresión del desencanto en la España postransicional
Unlike countries like United Kingdom, France or The United States, Spain never had a remarkable tradition in the field of Crime Fiction. This lack of solid tradition was the consequence of different causes like censorship, a bad consideration at editorial level and the lack of a deep industrial revolution which brings the urban conflicts which make this type of literature emerge. With the arrival of the democratic Transition, these transformations took place and, as a consequence of this, Spanish Crime Fiction experiments and amazing development born, precisely, with the aim of building up a critical portrait over this political phenomenon and its most relevant milestones taking the hard boiled literary trend from the North American authors as model. Being this one the context reflected by the Juan Madrid´s noir trilogy on Transition, this article intends to display an approach to it and its role as an unbeatable platform to rise up a critical review of this period from three perspectives: the political, the social and economical and that in relation to the media.
Journal Article
'Simply Sitting in a Chair': Questioning Representational Practice and Dramatic Convention in Marguerite Duras’s L’Amante anglaise and The Viaducts of Seine-et-Oise
Wilborn Hampton, review of Durass English Mint/LAmante Anglaise (1988) For both French novelist Marguerite Duras and American theatre critic Wilborn Hampton, the theatre is a place to see, an understanding in line with the Greek théatron (the seeing place, \"a place for 'looking at something\"), from which the theatre takes its name.! Ever since Sophocles' Oedipus Rex laid a foundation for the genre (thanks in part to framing provided by Aristotles Poetics), with its cause-and-effect, linear plotline, in which each clue builds the emotional intensity until the climax reveals all, the murder mystery has been a favorite of playwrights and novelists. At the start of the performance, the audience members hear the report of a murder in recorded voice-over, a clear convention of the crime drama. Drake's response to the American staging of the play was that \"neither the years nor the permutation of language had diminished its hypnotic power\" The unconventional use of the crime drama is not lost on Drake either: she describes the play as, \"what too often-and too casually-has been referred to as Duras' 'psychological thriller\" Just as Drake recognized that the static staging was intended to foster an active audience, she recognized that Duras uses the familiar crime genre to delve into something much deeper and more profound: questioning the processes and purposes of representation.
Journal Article
La novela policial en Venezuela: aproximaciones a un canon criminal
El presente artículo hace una exploración general de la novela policial venezolana de fines del siglo XX y principios del XXI. Tiene como objetivo principal analizar las características particulares que ha adquirido el género negro en este país latinoamericano a través de cuatro ejes importantes: el crimen, el detective, la víctima y el victimario. El artículo muestra la evolución del policial venezolano, con atención especial a los escritores fundadores durante el siglo XX. De esta manera, el artículo reflexiona en la unidad y diversidad de la novela criminal venezolana y su valor como instrumento de identidad cultural. Muchos de los escritores contemporáneos han reconocido el poder de esta narrativa y la utilidad de sus recursos. Dentro de este panorama, la contribución de las escritoras ha sido muy importante para el policial venezolano. Una gran parte de estas narraciones, en lugar de caer en la búsqueda del criminal o el descubrimiento de la verdad, narra el desciframiento de la forma de ser y vivir en medio de la violencia de las grandes ciudades venezolanas.
Journal Article
Queer Readings of Crime Fiction
This article circumscribes the main characteristics of existing queer crime ction scholarship, and then explores the impact of literary genre in a queer reading of crime novels. An analysis of Arnaldur Indridason’s novel Bettý (2011), Brigitte Aubert’s thriller Une âme de trop (2006), and Pierre Lemaitre’s noir novels Cadres noirs (2010) and Alex (2013) demonstrates the extent to which genre conventions such as surprise and suspense can support or obstruct anti-normative representations of queer characters and phenomena. It is shown that the decoding of queer sexuality and gender is easily inscribed within a crime narrative but that this does not always entail a queer subversive perspective. The transgender gure placed at the centre of Aubert’s novel invites little discussion of non-normative gender or sexuality because of how the plot is structured, whereas the lesbian narrator and main character in Indridason’s story vehicles a strong critical message about heteronormative society and celebrates queer love. Open-endedness or ambiguous closures (Stewart 2014) are instrumental in expressing queerness in the crime genre, while they are also typical of certain kinds of non-queer socio-political crime novels. Lemaitre’s both novels combine anti-capitalist social critique with a defence of marginalised social groups, including women, children, and the poor.
Journal Article