ARTICLES
‘Thrills and chills’: horror, the woman’s film, and the origins of film noir
By Marc Jancovich
Film death and the failure to signify: the curious case of Warni Hazard
By George Toles
Looks that kill: Double Indemnity (1944) reimagined in postmodern neo-noir and television
By Michael Lipiner and Yael Maurer
Film bleu: the development of cinematic aesthetics and disavowal of cultural traditions in Hong Kong crime cinema
By Yi Sun
Phantom ladies: the war worker, the slacker and the ‘femme fatale’
By Marc Jancovich
Bluebeard meets Ivy: the botany of love in Paul Thomas Anderson’s Phantom Thread
By Sina Movaghati
Paris, city of shadows: French crime cinema before the New Wave
By Tim Palmer
Orson Welles: an auteur of the thriller
By Gabriel M. Patz
Conflicted selves: the humanist cinema of Nuri Bilge Ceylan
By James Harvey-Davitt
Digital afx: digital dressing and affective shifts in Sin City and 300
By Aylish Wood
‘From grade B thrillers to deluxe chillers’: prestige horror, female audiences, and allegories of spectatorship in The Spiral Staircase (1946)
By Tim Snelson
Realism, revisionism and visual style: The French Connection and the New Hollywood policier
By Paul Ramaeker
Depths of black in The Night of the Hunter
By Elliott Logan
Midsomer Murders in Copenhagen: the transnational production of Nordic Noir-influenced UK television drama
By Eva Novrup Redvall
Imagining the post-forensic landscape: the crime drama on transnational television
By Paolo Russo and Lindsay Steenberg
REVIEWS
Dark borders: film noir and American citizenship
Review by Brian E. Butler
by Jonathan Auerbach, Durham, Duke University Press, 2011, 281 pp., £15.99, ISBN: 9780822394129
Critical theory and film: rethinking ideology through film noir
Review by Hunter Vaughan
by Fabio Vighi, London, Continuum, 2012, 184 pp., £65 (hardback), ISBN: 9781441111425