Contents

pp v-vi

List of Figures

pp vii-ix

Acknowledgements

pp x-xi

Contributors

pp xii-xvi

Traditions in World Cinema

pp xvii-xviii

Foreword

pp xix-xxiv

Introduction

pp 1-24

Part I - Partners in Crime: Receptions, Affinities, Hybridities

pp 25-26

1 - There Will Be Ogres: The Interstitial Aesthetics of Film Noir in the Early Films of Nikos Koundouros

pp 27-45

2 - Of Mice, Men and Greek Film Noir: The Little Mouse

pp 46-61

3 - Historical Coincidence or Generic Cross-Pollination? The Angry Hills and the Birth of Film Noir in Greece

pp 62-80

4 - Noir Backstage: Yannis Maris from Page to Screen

pp 81-102

5 - Dark Cinema, Dark Sounds: Mimis Plessas and the Integration of Jazz into Greek Film Noir

pp 103-120

6 - Fatal Absences and Female Gazes: Alternative Femininities in Greek Film Noir and the Psychological Thriller

pp 121-138

7 - Bums and Dark Alleys: Constructing Queerness in a Mid-1960s Greek Noir

pp 139-160

Part II - Political Aspects and Transnational Dynamics of the Greek Neo-Noir

pp 161-162

8 - A Dark Intrigue of Murder: Kierion and Reconstruction, or Film Noir as Politics

pp 163-181

9 - Neo-Noir and ‘Becoming-Murderer’ in Tonia Marketaki’sJohn the Violent 182

pp 182-198

10 - The Unbearable Queerness of Singapore Sling: Towards a Queer Ethics and Politics of Irony

pp 199-215

11 - Hong Kong and Athens: Contested Spaces of the Global and the Local in the Neo-Noir of John Woo and Alexis Alexiou

pp 216-231

12 - Darker Worlds Come in Small Packages: Neo-Noir Sensibility in Greek Cypriot Short Films

pp 232-246

13 - Greek Sleuths and Tough Cops: Noir Masculinities in Television Crime Shows (1992–2020)

pp 247-262

14 - Mediterranean Film Noir: Twilight Falls on mare nostrum 263

pp 263-278

Appendix: Greek Films and Television Series/Shows Featuring Dominant Noir or Neo-Noir Tropes

pp 279-290

Index

pp 291-311