Hardboiled Hysterics: Shell Shock and Tough Guys in The Maltese Falcon , 1929/1941
2022; Wiley; Volume: 55; Issue: 6 Linguagem: Inglês
10.1111/jpcu.13206
ISSN1540-5931
Autores Tópico(s)Media, Gender, and Advertising
ResumoThe Journal of Popular CultureEarly View Original Article Hardboiled Hysterics: Shell Shock and Tough Guys in The Maltese Falcon, 1929/1941 David Michael Jones, Corresponding Author David Michael Jones [email protected] Search for more papers by this author David Michael Jones, Corresponding Author David Michael Jones [email protected] Search for more papers by this author First published: 22 June 2023 https://doi.org/10.1111/jpcu.13206Read the full textAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Works Cited Abbott, Megan E. The Street Was Mine: White Masculinity and Urban Space in Hardboiled Fiction and Film Noir. New York UP, 2000. Abrahams, Paul P. “On Re-Reading the Maltese Falcon.” Journal of American Culture, vol. 18, no. 1, 1995, pp. 97– 107. The American Boy. Vol. 23, no. 3, The Sprague Publishing Co, 1923, pp. 2– 31. Anderson, John. “The World of the Maltese Falcon.” Southwest Review, vol. 73, no. 3, 1988, pp. 376– 97. Baudelaire, Charles. “ L'Héautontimorouménos.” Les Fleurs du Mal, Larousse, 1993, pp. 145– 6. Borde, Raymond, and Étienne, Chaumeton. A Panorama of American Film Noir 1941–1953. City Lights Books, 2002. Bordwell, David, Janet Staiger, and Kristin Thompson. The Classical Hollywood Cinema: Film Style and Mode of Production to 1960. Columbia UP, 1985. The Boy's Own Paper Annual. Vol. 1, Leisure Hour Office, 1879–80, pp. 2– 588. Breu, Christopher. Hard-Boiled Masculinities. Minnesota UP, 2005. Caruth, Cathy. Unclaimed Experience: Trauma, Narrative, and History. Johns Hopkins UP, 2016. Cassuto, Leonard. Hard-Boiled Sentimentality: The Secret History of American Crime Stories. Columbia UP, 2009. Crocq, Marc-Antoine, and Louis Crocq. “From Shell Shock and War Neurosis to Posttraumatic Stress Disorder: A History of Psychotraumatology.” Dialogues in Clinical Neuroscience, vol. 2, no. 1, 2000, pp. 47– 55. The Dangerous Female. Directed by Roy Del Ruth, Warner Brothers, 1931. Detour. Directed by Edgar G. Ulmer, performances by Tom Neal and Ann Savage, PRC Pictures, 1945. Doyle, Arthur Conan. Sherlock Holmes: The Complete Novels and Stories. Vol. 2, Bantam, 2003. Forter, Greg. Murdering Masculinities: Fantasies of Gender and Violence in the American Crime Novel, New York UP, 2000. Freud, Sigmund. Dora: A Study in Hysteria. Translated by Philip Rieff, Macmillan, 1963. Gates, Philippa. “The Three Sam Spades: The Shifting Model of American Masculinity in the Three Films of the Maltese Falcon.” Framework: The Journal of Cinema and Media, vol. 49, no. 1, 2008, pp. 7– 26. Haggard, H. Rider. King Solomon's Mines. Edited by Gerald Monsman, Broadview, 2002. Hammett, Dashiell. The Maltese Falcon. 1929. Vintage, 1992. Hammett, Dashiell. “ Introduction.” The Maltese Falcon. Modern Library, 1934. High Sierra. Directed by Raoul Walsh, performances by Humphrey Bogart and Ida Lupino, Warner Brothers, 1941. Hornung, E. W. The Complete Raffles. Vol. 2, Leonaur, 2008. Horsley, Lee. Twentieth-Century Crime Fiction. Oxford UP, 2005. Huston, John. The Maltese Falcon. Screenplay for Film, 1941. Keene, Jennifer D. Doughboys, the Great War, and the Remaking of America. Johns Hopkins UP, 2003. Krutnik, Frank. In a Lonely Street: Film Noir, Genre, Masculinity. Routledge, 2006. MacCurdy, John. War Neurosis, Cambridge UP, 1919. The Maltese Falcon. Directed by John Huston, performances by Humphrey Bogart and Mary Astor, Warner Brothers, 1941. Marcus, Steven. “ Dashiell Hammett and the Continental Op.” The Critical Response to Dashiell Hammett, edited by Christopher Metress, Greenwood, 1994, pp. 194– 203. Mooney, William H. Dashiell Hammett and the Movies. Rutgers UP, 2014. Out of the Past. Directed by Jacques Tourneur, performances by Jane Greer and Robert Mitchum, RKO Pictures, 1947. The Petrified Forest. Directed by Archie Mayo, performances by Humphrey Bogart, Leslie Howard, and Bette Davis, Warner Brothers, 1936. Satan Met a Lady. Directed by William Dieterle, performances by Bette Davis, Warner Brothers, 1936. Shephard, Ben. A War of Nerves: Soldiers and Psychiatrists in the Twentieth Century. Harvard UP, 2003. Sperber, A. M. and Eric Lax. Bogart. Morrow, 1997. Stevenson, Robert Louis. Treasure Island. Modern Library, 2001. The Thin Man. Directed by W. S. Van Dyke, performances by Myrna Loy and William Powell, MGM, 1934. The Treasure of Sierra Madre. Directed by John Huston, performances by Humphrey Bogart and Walter Huston, Warner Brothers, 1948. Trott, Sarah. “ The Detective as Veteran: Recasting American Hard-Boiled Writing as a Literature of Traumatic War Experience.” Men After War, edited by Steve McVeigh and Nicola Cooper, Routledge, 2013, pp. 130– 51. Trott, Sarah. War Noir: Raymond Chandler and the Hard-Boiled Detective as Veteran in American Fiction. UP of Mississippi, 2016. Vance, Norman. The Sinews of the Spirit: The Ideal of Christian Manliness in Victorian Literature and Religious Thought. Cambridge UP, 1985. Van Dine, S. S. The Benson Murder Case. Scribner, 1926. Ward, Nathan. The Lost Detective: Becoming Dashiell Hammett. Bloomsbury, 2015. Wister, Owen. The Virginian. Grosset and Dunlap, 1911. Early ViewOnline Version of Record before inclusion in an issue ReferencesRelatedInformation
Referência(s)