Kirjahaku

Presenting a social history of British crime film, this book focuses on the strategies used in order to address more radical notions surrounding class, politics, sex, delinquency, violence and censorship. Spanning post-war crime cinema to present-day "Mockney" productions, it contextualizes the films and identifies important and neglected works.

Are you a lover of crime fiction looking for new discoveries or hoping to rediscover old favourites? Then look no further. There are few contemporary crime fiction guides that cover everything from the golden age to current bestselling writers from America, Britain and all across the world, but the award-winning Barry Forshaw, one of the UK's leading experts in the field, has provided a truly comprehensive survey with definitive coverage in this expanded new edition of the much admired Rough Guide to Crime Fiction. Every major writer is included, along with many other more esoteric choices. Focusing on a key book (or books) by each writer, and with essays on key crime genres, Crime Fiction: A Reader's Guide (with a foreword by Ian Rankin) is designed to be both a crime fan's shopping list and a pithy, opinionated but unstuffy reference tool and history. Most judgements are generous (though not uncritical), and there is a host of entertaining, informed entries on related films and TV.

The legendary Georges Simenon was the most successful and influential writer of crime fiction in a language other than English; André Gide called him 'the greatest French novelist of our times'. Celebrated crime fiction expert Barry Forshaw's informed and lively study draws together Simenon's extraordinary life and his work on both page and screen. By the time of Simenon's death in 1989, his French detective Maigret had become an institution, rivalled only by Sherlock Holmes. The pipe-smoking Inspector of Police is a quietly spoken observer of human nature who uses the techniques of psychology on those he encounters (both the guilty and the innocent) - with no rush to moral condemnation. Simenon's non-Maigret standalone books are among the most commanding in the genre, and, as a trenchant picture of French society, his concise novels collectively offer up a fascinating analysis. And his influence on an army of later crime writers is incalculable. Alongside his own considerable insights, Barry Forshaw has interviewed people who worked either with Simenon or on his books: publishers, editors, translators, and other specialist writers. He has created a literary prism through which to appreciate one of the most distinctive achievements in the whole of crime fiction.

Presenting a social history of British crime film, this book focuses on the strategies used in order to address more radical notions surrounding class, politics, sex, delinquency, violence and censorship. Spanning post-war crime cinema to present-day "Mockney" productions, it contextualizes the films and identifies important and neglected works.

Nordic Noir: The Pocket Essential Guide to Scandinavian Crime Fiction, Film and TV by Britain's leading expert on crime fiction, Barry Forshaw, is a compact and authoritative guide to the phenomenally popular genre. The information-packed study examines and celebrates books, films and TV adaptations, from Sjöwall & Wahlöö's highly influential Martin Beck series through Henning Mankell's Wallander (subject of three separate TV series) to Stieg Larsson's groundbreaking The Girl with the Dragon Tattoo, cult TV hits such as the Danish The Bridge and the political thriller Borgen, up to the massively successful books and films of the current king of the field, Norway's Jo Nesbo. Nordic Noir anatomises the nigh-obsessive appeal of the subject and highlights every key book, film and TV show. For both the beginner and the aficionado, this is a hugely informative, highly accessible guide (and shopping list) for an essential crime genre.

Barry Forshaw is acknowledged as a leading expert on crime fiction from European countries, but his principal area of expertise is in the British crime arena. After the success of earlier entries in the series, Nordic Noir and Euro Noir, he returns to the UK to produce the perfect reader's guide to modern British crime fiction. Every major living British writer is considered, often through a concentration on one or two key books, and exciting new talents are highlighted for the reader. Forshaw's personal acquaintance with writers, editors and publishers is unparalleled, so Brit Noir features interviews with (and quotations from) the writers, editors and publishers themselves.

The War of the Worlds was one of a handful of high-prestige science fiction productions in a low-budget era, and initiated modern cinema's reliance on screen-filling special effects. Barry Forshaw analyses and celebrates this key science fiction film of the 1950s, exploring its literary origins and numerous film progeny.

The 1991 film The Silence of the Lambs, based on Thomas Harris's bestseller, was a game-changer in the fields of both horror and crime cinema. FBI trainee Clarice Starling was a new kind of heroine, vulnerable, intuitive, and in a deeply unhealthy relationship with her monstrous helper/opponent, the serial killer Hannibal Lecter. Jonathan Demme's film skillfully appropriated the tropes of police procedural, gothic melodrama and contemporary horror and produced something entirely new. The resulting film was both critically acclaimed and massively popular, and went on to have an enormous influence on 1990s genre cinema. Crime and horror authority Barry Forshaw closely examines the factors that contributed to the film's impact, including the revelatory performances of Jodie Foster and Anthony Hopkins in the lead roles.

Murder in the Dark sports a winning combination of engaging crime narrative and cool, unsentimental appraisal of Scandinavian society (as seen through the eyes of its shabby, unconventional anti-hero). There are elements of the book which now seem quite as relevant as when they were written, and like all the most accomplished writing in the Nordic Noir field, there is an acute and well-observed sense of place throughout the novel. The descriptions of Copenhagen channel the poetic sensibility which is the author's own: 'Copenhagen is at its most beautiful when seen out of a taxi at midnight, right at that magical moment when one day dies and another is born, and the printing presses are buzzing with the morning newspapers.'