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Dangerous Dames
Both film noir and the Weimar street film hold a continuing fascination for film spectators and film theorists alike. The female characters, especially the alluring femmes fatales, remain a focus for critical and popular attention. In the tradition of such attention, Dangerous Dames focuses on the femme fatale and her antithesis, the femme attrapée. Unlike most theorists, Jans Wager examines these archetypes from the perspective of the female spectator and rejects the persistence of vision that allows a reading of these female characters only as representations of unstable postwar masculinity. Professor Wager suggests that the woman in the audience has always seen and understood these characters as representations of a complex aspect of her existence. Dangerous Dames looks at the Weimar street films The Street, Variety, Asphalt, and M and the film noir movies The Maltese Falcon, Gun Crazy, and The Big Heat. This book opens the doors to spectators and theorists alike, suggesting cinematic pleasures outside the bounds of accepted readings and beyond the narrow categorization of film noir and the Weimar street film as masculine forms.
Dames in the Driver's Seat
With its focus on dangerous, determined femmes fatales, hardboiled detectives, and crimes that almost-but-never-quite succeed, film noir has long been popular with moviegoers and film critics alike. Film noir was a staple of classical Hollywood filmmaking during the years 1941-1958 and has enjoyed a resurgence in popularity since the 1990s. Dames in the Driver's Seat offers new views of both classical-era and contemporary noirs through the lenses of gender, class, and race. Jans Wager analyzes how changes in film noir's representation of women's and men's roles, class status, and racial identities mirror changes in a culture that is now often referred to as postmodern and postfeminist. Follo...
Jazz and Cocktails
Film noir showcased hard-boiled men and dangerous femmes fatales, rain-slicked city streets, pools of inky darkness cut by shards of light, and, occasionally, jazz. Jazz served as a shorthand for the seduction and risks of the mean streets in early film noir. As working jazz musicians began to compose the scores for and appear in noir films of the 1950s, black musicians found a unique way of asserting their right to participate fully in American life. Jazz and Cocktails explores the use of jazz in film noir, from its early function as a signifier of danger, sexuality, and otherness to the complex role it plays in film scores in which jazz invites the spectator into the narrative while simult...
Jazz and Cocktails
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Returning the Gaze
Rediscovers and examines the lost history of African-American film criticism from the first half of the century.
Jan Van Hunks
This is a new release of the original 1952 edition.
Black & White & Noir
Black & White & Noir explores America's pulp modernism through penetrating readings of the noir sensibility lurking in an eclectic array of media: Office of War Information photography, women's experimental films, and African-American novels, among others. It traces the dark edges of cultural detritus blowing across the postwar landscape, finding in pulp a political theory that helps explain America's fascination with lurid spectacles of crime. We are accustomed to thinking of noir as a film form popularized in movies like The Maltese Falcon, The Big Sleep, and, more recently, Quentin Tarantino's Pulp Fiction. But it is also, Paula Rabinowitz argues, an avenue of social and political express...
Dining with the Devil
What shapes the message of the church? The Bible and Spirit? Or society and culture? Os Guinness points out perils of compromise in the church growth movement.
Pascal the Philosopher
Blaise Pascal has always been appreciated as a literary giant and a religious guide, but has received only grudging recognition as a philosopher: philosophers have mistaken Pascal’s harsh criticism of their discipline as a rejection of it. But according to Graeme Hunter, Pascal’s critics have simply failed to grasp his lean, but powerful conception of philosophy. This accessibly written book provides the first introduction to Pascal’s philosophy as an organic whole. Hunter argues that Pascal’s aim is not merely to humble philosophy, but to save it from a kind of failure to which it is prone. He lays out Pascal’s development of a more promising and fruitful path for philosophical inquiry, one that responded to the scientific, religious, and political upheaval of his time. Finally, Hunter illuminates Pascal’s significance for contemporary readers, allowing him to emerge as the rare philosopher who is spiritual, literary, and rigorous all at once – both a brilliant controversialist and a thinker of substance.
Last Woman Standing
"In Amy Gentry's follow-up to her acclaimed debut, Good As Gone, two assaulted women make a pact to kill each other's tormentor. But in the fallout, their paranoia grows until neither is sure whom she can trust. At what cost will their vengeance come?"--
