above: Audrey Totter looks into the subjective camera in THE LADY IN THE LAKEThe new issue of NOIR CITY is out. This one has been cooking for a while, but it's packed with great new material. Essays on the dishy dames of 50's British Noir (hello Belinda Lee...), the varieties of railroad noir, the music of Bernard Herrmann, the art of noir paperbacks, and much more.
This issue also features two pieces by yours truly. First, I do a book to film comparison of THE DEVIL THUMBS A RIDE (which reminds me, I have some exciting news to break in few weeks that touches on this film and its director Felix Feist, but more on that later).
I also have a longer piece about the use of the subjective camera in film noir. Rather than explain what that means, I'll just link to it since the good folks about the Film Noir Foundation have posted the article online. Go check out Through The Camera's Eye and consider becoming a supporter of the Film Noir Foundation.
I have a new flash up at the Flash Fiction Offensive:
When the robbers burst in at twelve past twelve on that bright August afternoon, Edward didn’t notice. Leaning over the tabletop, ignoring his lobster sandwich, he was explaining commodities futures to a potential client. So focused on making his argument, so zeroed in on his goal, Edward did not see that everyone around him had started to raise their hands. Conversations lurched and sputtered. People began pulling out their cell phones and holding them in the air. Only when the client broke eye contact and gasped did Edward turn and see three men with guns stomping among the fine linen tables issuing orders.Read the rest of "Aftermath" here.
I'm pleased to say I have the debut story up at Fires On The Plain, the new website specializing in Western Noir. "The Serpent Box" is a bloody revenge tale set among a group of snakehandling fanatics at the turn of the century. Think Bergman's THE VIRGIN SPRING, except set in rural Arkansas. Go check out The Serpent Box and let me know what you think.
There's a fascinating new essay up at Slate about an unproduced noir script from screenwriter John Logan. The unnamed film takes place in Hollywood in 1938. Michael Mann was originally attached to the project, but when his film version of Miami Vice bombed at the box office (a well-earned fate for such a clunky piece of work) the deal on the noir script fell through. Give the essay a read, though, and you'll start hoping that somehow this project is put back on track. The script sounds great.
Check out my new essay about visiting Monument Valley, Utah.
Here's a hearty recommendation: go check out Leslie Gilbert Elman's new article on famed crime scene photographer Arthur "Weegee" Fellig, Weegee: The Man Who Shot Noir. This guy was one hell of a character, a real life noir antihero.
above: Hinkson, Gallagher, and Beetner discussing old moviesCheck out the new semi-regular feature "Rogue's Gallery" I'm doing with noir experts, and all around good guys, Eric Beetner and Cullen Gallagher over at Spinetingler Magazine. Beetner is the author of the novels One Too Many Blows To The Head and Borrowed Trouble, as well as the new Split Decision and Dig Two Graves. Gallagher is the pulp scholar who writes the invaluable Pulp Serenade. Together the three of us will hash out longstanding debates such as:
Who's the ultimate noir director? (read more)
Which is the better Otto Preminger noir starring Dana Andrews and Gene Tierney, the iconic LAURA or the lesser known WHERE THE SIDEWALK ENDS? (read more)
Take a read and let us know what you think. If you have any topics you think we should discuss, let us know.
Some dates on the Hell On Church Street Tour: (more to follow)
On Saturday March 3rd, at 6pm, I'll be at Chop Suey Books in Richmond, VA.
On Saturday April 14th, I'll be at the Arkansas Literary Festival in Little Rock.
I'll also be presenting at NoirCon 2o12 this November.
If you're around during any of these events please stop by and say hello, maybe buy a copy or three of the book. Or, if you'd rather, show up and picket me. All publicity is good publicity.
above: Audrey Totter looks into the subjective camera in THE LADY IN THE LAKE
