Historical Noir

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.

It's one of the most successful—and surprising—of phenomena in the entire crime fiction genre: detectives (and proto-detectives) solving crimes in earlier eras. Barry Forshaw has written a lively, wide-ranging and immensely informed history of the genre, which might be said to have begun in earnest with Ellis Peters' crime-solving monk Brother Cadfael in the 1970s and Umberto Eco's The Name of the Rose in 1980 (with another monkish detective), but which has now taken readers to virtually every era and locale in the past. Forshaw has produced the perfect reader's guide to a fascinating field; every major writer is considered, often through a concentration on one or two key books, and exciting new talents are highlighted.

It's one of the most successful - and surprising - of phenomena in the entire crime fiction genre: detectives (and proto-detectives) solving crimes in earlier eras. There is now an army of historical sleuths operating from the mean streets of ancient Rome to the Cold War era of the 1950s. And this astonishingly varied offshoot of the crime genre, as well as keeping bookshop tills ringing, is winning a slew of awards, notably the prestigious CWA Historical Dagger. Barry Forshaw, one of the UK s leading experts on crime fiction, has written a lively, wide-ranging and immensely informed history of the genre, which might be said to have begun in earnest with Ellis Peters crime-solving monk Brother Cadfael in the 1970s and Umberto Eco's The Name of the Rose in 1980 (with another monkish detective), but which has now taken readers to virtually every era and locale in the past. As in earlier entries in his Noir series, Forshaw has produced the perfect reader's guide to a fascinating field; every major writer is considered, often through a concentration on one or two key books, and exciting new talents are highlighted. 'Historical Noir covers crime novels (and their authors) set in ancient Greece and beyond to the 1950s ... what a splendid, varied bunch Forshaw provides' - Times 'A very worthy addition to this great series' - Crime Squad Look out for the other books in Barry Forshaw's Noir series, Euro Noir, Nordic Noir, Brit Noir and American Noir, and for his latest book, Crime Fiction: A Reader's Guide.

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.

M. de Rênal is the mayor of a provincial town named Verrières, who hires Julien Sorel as a private teacher for his child. Sorel desires to become a real man and follow the steps of his hero – Napoleon. The young man thinks that it is his duty to seduce the mayor’s wife and they become lovers. However, their little secret will soon be revealed. Who will find out about the love affair? What is going to happen with the two lovers? Will mayor M. de Rênal also find out or the truth will be hidden from him? Find all the answers in Stendhal’s novel "The Red and the Black" from 1830. Stendhal (1783-1842), the pseudonym of Marie-Henry Beyle, was a French writer. A pioneer of literary realism, he is best known for his novels "The Red and the Black" (1830) and "The Charterhouse of Parma" (1839).

In the world of the Mafia, sometimes death is the only way out....

In Paris Noir Yonnet tells is about some of the darker quarters of Paris on the left bank of the Seine, centred on the place Mauberge and the rue Mouffetard, as seen from his own experience. It is mainly written during the 1940s, under the Occupation and in the immediate post-war period; there is a certain amount dealing with the resistance, but the main thrust of the book is a Paris that existed between the wars - and is well known from the film noir -but has since disappeared. It concentrates on the people, rather than places, a mixture of ordinary workers, tradesmen, artists, con-men and criminals. It invests the area with a sense of mystery including occasional supernatural events; it is extremely well written, often using the language of the inhabitants of the area. Raymond Queneau considered it the greatest book ever written about Paris. For Dedalus it is the perfect counterfoil for J.K.Huysmans� Parisian Sketches which Dedalus published in 2004 which showed the darker side of Paris pre Haussman�s big boulevards. 'Among the books you must read before you die is Paris Noir by Jacques Yonnet.' Raphael Sorin �Concentrating on the seedy area around Rue Mouffetard, which becomes "La Mouffe" in a typically Parisian abbreviation, Yonnet reveals the dark side of the City of Light in the 1940s in this "secret history of a city".The street life of the Left Bank ticks on much as normal during the Occupation, though Léopoldie the tart stops turning tricks because "the green German uniform does not suit her complexion". Keep- on-Dancin', the killer with a fondness for history, rules the roost. Though describing himself as "sceptical, disillusioned, cynical", Yonnet casually dispatches a traitor in the Resistance. This is film noir in book form." Christopher Hirst in The Independent