Contents

pp v-vi

List of Figures

pp vii-vii

Notes on Contributors

pp viii-x

Acknowledgements

pp xi-xii

Introduction

pp 1-20

Section I - Transcription

pp 21-22

1 - Illuminating the Black Film: The Weimar Origins of the Argentine Policial, the Curious Case of ‘El Metteur’ James Bauer and Crime as Transnational Signifier

pp 23-43

2 - Retracing Mafia Locality

pp 44-60

3 - Funhouse Noir: Escapist Expressionism in Samuel Khachikian’s Delirium

pp 61-76

Section II - Transgression

Part I - On the Boundaries of Nation and Ideology: Criminal Heroes at the Discursive Limits of Genre, Gender and the Body

pp 77-78

4 - Crime without Borders: Marginality and Transnational Power in Jacques Audiard’s Un prophète

pp 79-92

5 - Three Crime Films by Jia Zhangke: A Transnational Genealogy of Social and Personal Turmoil

pp 93-106

6 - Tit for Tat: Avenging Women and Self-fashioning Femininity in Malayalam Cinema

pp 107-122

Part II - Modes of Transgression vis-à-vis State Repression and Violence

pp 123-124

7 - Communist Noir: The Hunt for Hidden Traitors, Saboteurs, Spies, Revisionists and Deviationists in Albania’s Revolutionary Vigilance Films of the 1970s and 1980s

pp 125-139

8 - The Case of the Spanish Gialli: Crime Fiction and the Openness of Spain in the 1970s

pp 140-154

9 - The Short Arm of the Law: The Post-dictatorship Crime Film as a Barometer for Justice in Contemporary Argentina

pp 155-180

Section III - Transvaluation

pp 181-182

10 - Franchising the Female Hero: Translating the New Woman in Victorin Jasset’s Protéa (1913), France’s First Female Spy Film

pp 183-198

11 - Shirkers (2018) Lost and Found? Tracing Transsensorial Trauma in a True-crime Road Movie

pp 199-217

12 - Gated Crimes: Neoliberal Spaces and the Pleasures of Paranoia in Las viudas de los jueves (2009) and Betibú (2014)

pp 218-236

13 - Ensemble of Experts: Relentless as ‘Nigerian Noir’

pp 237-252

Postscript: Desires for Transit and Mobile Genealogies of Popular Cinema

pp 253-256

Index

pp 257-276