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The now legendary character created by Leslie Charteris has survived nearly three-quarters of a century of perilous action and narrow escapes with nary a hair out of place nor the slightest jolt to his jauntily tipped halo. From his earliest days battling "crooks, blood suckers, traders in vice and damnation" (and cracking the occasional safe on the side), the Saint has captured the imaginations of millions. Using the voluminous correspondence and writings of author Leslie Charteris and examining the many incarnations of Simon Templar, alias "The Saint," in other media, a detailed history emerges. Includes plot synopses of the radio and television programs, with air dates and production credits; descriptions of the movies and their credits; a bibliography, reviews of the books, and quotes from the principals.
Male-female detective pairings often exhibit offbeat, dark humor and considerable chemistry as they investigate crimes. They have proven to be both entertaining and alluring on screen and television. This work reveals an evolutionary progression in the depictions of three detective duos: the married pair Nick and Nora Charles of The Thin Man, black-humored special agents John Steed and Emma Peel of The Avengers, and finally the smoldering Mulder and Scully in The X-Files. Ten chapters offer critical analysis, rich with background information and insider observations. Production comments are given throughout. Three appendices (one for each series) offer episode guides with original broadcast dates, credits and brief synopses.
Series covers individuals ranging from established award winners to authors and illustrators who are just beginning their careers. Entries cover: personal life, career, writings and works in progress, adaptations, additional sources, and photographs.
This book explores in depth the origins, development, and prospects of outlawry and of the relationship of outlaws to the social conditions of changing times. Throughout American history you will find larger-than-life brigands in every period and every region. Often, because we hunger for simple justice, we romanticize them to the point of being unable to separate fact from fiction. Frank Richard Prassel brings this home in a thorough and fascinating examination of the concept of outlawry from Robin Hood, Dick Turpin, and Blackbeard through Jean Lafitte, Pancho Villa, and Billy the Kid to more modern personalities such as John Dillinger, Claude Dallas, and D. B. Cooper. A separate chapter on molls, plus equal treatment in the histories of gangs, traces women's involvement in outlaw activities. Prassel covers the folklore as well as the facts, even including an appendix of ballads by and about outlaws. He makes clear how this motley group of bandits, pirates, highwaymen, desperadoes, rebels, hoodlums, renegades, gangsters, and fugitives—who stand tall in myth—wither in the light of truth, but flourish in the movies. As he tells the stories, there is little to confirm that Jesse and Frank James, Butch Cassidy and the Sundance Kid, the Daltons, Pretty Boy Floyd, Ma Barker, Clyde Barrow and Bonnie Parker, Belle Starr, the Apache Kid, or any of the so-called good badmen, did anything that did not enrich or otherwise benefit themselves. But there is plenty of evidence, in the form of slain victims and ruined lives, to show how many ways they caused harm. The Great American Outlaw is as much an excellent survey on the phenomenon as it is a brilliant exposition of the larger than-life figures who created it. Above all, it is a tribute to that aspect of humanity that Americans admire most and that Prassel describes as a willingness "to fight, however hopelessly, against exhibitions of privilege."
A “splendidly entertaining” biography of the British tv writer acclaimed for his invention of a fictional alien race for Doctor Who (Dominic Sandrook, author of State of Emergency—The Way We Were: Britain 1970–1974). The Daleks are one of the most iconic and fearsome creations in television history. Since their first appearance in 1963, they have simultaneously fascinated and terrified generations of children, their instant success ensuring, and sometimes eclipsing, that of Doctor Who. They sprang from the imagination of Terry Nation, a failed stand-up comic who became one of the most prolific writers for television that Britain ever produced. Survivors, his vision of a post-apocalyptic England, so haunted audiences in the Seventies that the BBC revived it over thirty years on, and Blake’s 7, constantly rumored for return, endures as a cult sci-fi classic. But it is for his genocidal pepperpots that Nation is most often remembered, and now, more than 50 years after their creation they continue to top the Saturday-night ratings. Yet while the Daleks brought him notoriety and riches, Nation played a much wider role in British broadcasting’s golden age. He wrote for Spike Milligan, Frankie Howerd and an increasingly troubled Tony Hancock, and as one of the key figures behind the adventure series of the Sixties—including The Avengers, The Saint and The Persuaders!—he turned the pulp classics of his boyhood into a major British export. In The Man Who Invented the Daleks, acclaimed cultural historian Alwyn W. Turner, explores the curious and contested origins of Doctor Who’s greatest villains, and sheds light on a strange world of ambitious young writers, producers and performers without whom British culture today would look very different.
First published in 1987, this title tracks the spy thriller from John Buchanan to Eric Ambler, Ian Fleming and John Le Carré, and shows how these tales of spies, moles, and the secret service tell a history of modern society, translating the political and cultural transformations of the twentieth century into the intrigues of a shadow world of secret agents. Combining cultural history with narrative analysis, Cover Stories explores the two main traditions of the thriller: the thriller of the work, in which bureaucratic routines are invested with political meaning; and the thriller of leisure, in which the sports and games that kill time become a time of dangerous political contests. Examining the characteristic narrative structures of the spy novel – the adventure formulas and the plots of betrayal, disguise and doubles – Denning shows how they attempt to resolve crises and contradictions in ideologies of nation and empire, and of class and gender.
For over two decades, Clues has included the best scholarship on mystery and detective fiction. With a combination of academic essays and nonfiction book reviews, it covers all aspects of mystery and detective fiction material in print, television and movies. As the only American scholarly journal on mystery fiction, Clues is essential reading for literature and film students and researchers; popular culture aficionados; librarians; and mystery authors, fans and critics around the globe.
This book is a no-apologies introduction to Detective Fiction. It's written in an aggressive, modern English well-suited to a genre which has traditionally broken ground in terms of aggressive writing, contemporary scenarios, and tough dialogue.
This work is a composite index of the complete runs of all mystery and detective fan magazines that have been published, through 1981. Added to it are indexes of many magazines of related nature. This includes magazines that are primarily oriented to boys' book collecting, the paperbacks, and the pulp magazine hero characters, since these all have a place in the mystery and detective genre.