Kapitel in diesem Buch

1. Frontmatter i
2. CONTENTS v
3. List of Figures vii
4. Acknowledgements x
5. Contributors xii
6. Traditions in World Cinema xvii
7. Foreword xix
8. Introduction 1
9. PART I. PARTNERS IN CRIME: RECEPTIONS, AFFINITIES, HYBRIDITIES
10. 1 There Will Be Ogres: The Interstitial Aesthetics of Film Noir in the Early Films of Nikos Koundouros 27
11. 2 Of Mice, Men and Greek Film Noir: The Little Mouse 46
12. 3 Historical Coincidence or Generic Cross-Pollination? The Angry Hills and the Birth of Film Noir in Greece 62
13. 4 Noir Backstage: Yannis Maris from Page to Screen 81
14. 5 Dark Cinema, Dark Sounds: Mimis Plessas and the Integration of Jazz into Greek Film Noir 103
15. 6 Fatal Absences and Female Gazes: Alternative Femininities in Greek Film Noir and the Psychological Thriller 121
16. 7 Bums and Dark Alleys: Constructing Queerness in a Mid-1960s Greek Noir 139
17. PART II. POLITICAL ASPECTS AND TRANSNATIONAL DYNAMICS OF THE GREEK NEO-NOIR
18. 8 A Dark Intrigue of Murder: Kierion and Reconstruction, or Film Noir as Politics 163
19. 9 Neo-Noir and ‘Becoming-Murderer’ in Tonia Marketaki’s John the Violent 182
20. 10 The Unbearable Queerness of Singapore Sling: Towards a Queer Ethics and Politics of Irony 199
21. 11 Hong Kong and Athens: Contested Spaces of the Global and the Local in the Neo-Noir of John Woo and Alexis Alexiou 216
22. 12 Darker Worlds Come in Small Packages: Neo-Noir Sensibility in Greek Cypriot Short Films 232
23. 13 Greek Sleuths and Tough Cops: Noir Masculinities in Television Crime Shows (1992–2020) 247
24. 14 Mediterranean Film Noir: Twilight Falls on mare nostrum 263
25. Appendix: Greek Films and Television Series/Shows Featuring Dominant Noir or Neo-Noir Tropes 279
26. Index 291