Dark City

This revised and expanded edition of Eddie Muller's Dark City is a film noir lover's bible, taking readers on a tour of the urban landscape of the grim and gritty genre in a definitive, highly illustrated volume. Dark Cityexpands with new chapters and a fresh collection of restored photos that illustrate the mythic landscape of the imagination. It's a place where the men and women who created film noir often find themselves dangling from the same sinister heights as the silver-screen avatars to whom they gave life. Eddie Muller, host of Turner Classic Movies' Noir Alley, takes readers on a spellbinding trip through treacherous terrain: Hollywood in the post-World War II years, where art, politics, scandal, style -- and brilliant craftsmanship -- produced a new approach to moviemaking, and a new type of cultural mythology.

A world on the edge of devastation, where nothing is as it seems--Front cover.

The author of Dark City: The Lost World of Film Noir introduces readers to the genre's sizzling femme fatales, from Jane Greer and Claire Trevor to Ann Savage and Evelyn Keyes. Reprint.

A troubled teen, living in Paris, is torn between two boys, one of whom encourages her to embrace life, while the other—dark, dangerous, and attractive—urges her to embrace her fatal flaws.

A compelling and long-overdue exploration of the Progressive-era conservation movement, and its lasting effects on American culture, politics, and contemporary environmentalism The turn of the twentieth century caught America at a crossroads, shaking the dust from a bygone era and hurtling toward the promises of modernity. Factories, railroads, banks, and oil fields—all reshaped the American landscape and people. In the gulf between growing wealth and the ills of an urbanizing nation, the spirit of Progressivism emerged. Promising a return to democracy and a check on concentrated wealth, Progressives confronted this changing relationship to the environment—not only in the countryside but also in dense industrial cities and leafy suburbs. Drawing on extensive work in urban history and Progressive politics, Benjamin Heber Johnson weaves together environmental history, material culture, and politics to reveal the successes and failures of the conservation movement and its lasting legacy. By following the efforts of a broad range of people and groups—women’s clubs, labor advocates, architects, and politicians—Johnson shows how conservation embodied the ideals of Progressivism, ultimately becoming one of its most important legacies.

Before the Batcave and Robin, the Joker and the Batmobile ... there was ZERO YEAR. The Riddler has plunged Gotham City into darkness. How will a young Dark Knight bring his beloved hometown from the brink of chaos and madness and back into the light? From the critically acclaimed, New York Times #1 best-selling creative team of Scott Snyder and Greg Capullo, BATMAN VOL. 5: ZERO YEAR--DARK CITY is the concluding volume to Batman's origin story, as you've never seen it before. Collects Batman #25-27, 29-33.

“I am Moscow’s underground son, the result of one too many nights on the town,” says Mbobo, the precocious twelve-year-old narrator of Hamid Ismailov’s The Underground. Born from a Siberian woman and an African athlete competing in the 1980 Moscow Olympics, Mbobo navigates the complexities of being a fatherless, mixed-raced boy in the Soviet Union in the years before its collapse, guided only by the Moscow subway system. Named one of the "ten best Russian novels of the 21st Century" (Continent Magazine), The Underground is Ismailov’s haunting tour of the Soviet capital, on the surface and beneath. Though deeply engaged with great Russian authors of the past—Dostoyevsky, Nabokov, and, above all, Pushkin—Ismailov is an emerging master of Russian writing that reflects the country’s diversity today. Reviews "Hamid Ismailov has the capacity of Salman Rushdie at his best to show the grotesque realization of history on the ground." —Literary Review "The dream of grandeur is more than justified by the artfulness of The Underground, which...create[s] the motifs of blackness, subterranean movement, and isolation that are the novel’s strongest effects." —Transitions Online Hamid Ismailov is an Uzbek journalist, writer, and translator who was forced to flee Uzbekistan in 1992 for the United Kingdom, where he now works for the BBC World Service. His works are still banned in Uzbekistan. His writing has been published in Uzbek, Russian, French, English, and other languages. He is the author of novels including Sobranie Utonchyonnyh, Le Vagabond Flamboyant, Two Lost to Life, The Railway, The Underground, A Poet and Bin-Laden and The Dead Lake; poetry collections including Sad (Garden) and Pustynya (Desert); and books of visual poetry Post Faustum and Kniga Otsutstvi. Carol Ermakova studied German and Russian language and literature and holds an MA in translation from Bath University. She first visited Russia in 1991. More recently, Ermakova spent two years in Moscow working as a teacher and translator. Carol currently lives in the North Pennines and works as a freelance translator.

Robert Mitchum once commented to Arthur Lyons about his movies of the 1940s and 1950s: "Hell, we didn't know what film noir was in those days. We were just making movies. Cary Grant and all the big stars at RKO got all the lights. We lit our sets with cigarette butts." Film noir was made to order for the "B," or low-budget, part of the movie double bill. It was cheaper to produce because it made do with less lighting, smaller casts, limited sets, and compact story lines—about con men, killers, cigarette girls, crooked cops, down-and-out boxers, and calculating, scheming, very deadly women. In Death on the Cheap, Arthur Lyons entertainingly looks at the history of the B movie and how it led to the genre that would come to be called noir, a genre that decades later would be transformed in such "neo-noir" films as Pulp Fiction, Fargo, and L.A. Confidential. The book, loaded with movie stills, also features a witty and informative filmography (including video sources) of B films that have largely been ignored or neglected—“lost" to the general public but now restored to their rightful place in movie history thanks to Death on the Cheap.

The blackout went into effect three days before the declaration of war and transformed nocturnal London into a criminal's paradise. As the city pulled together in the face of terrible adversity, the bomb-ravaged streets became the stalking grounds for killers, rapists, looters and gangs. The number of bodies retrieved during the Blitz made it impossible for the authorities to autopsy them all, providing cover to those who worked with blades, guns and more sinister tools. Scotland Yard – its resources stretched to the limit – did its best to tackle a rogues' gallery born of bombs and blackout, and crimes that continue to fascinate from history's darkest corners. In Dark City, award-winning crime writer Simon Read paints a vivid picture of the other side of wartime London, from the Blackout Ripper and the Acid Bath Murders, to the notorious Rillington Place killer and his house of corpses.

Originally published in single magazine form in BATMAN 452-454 and DETECTIVE COMICS 629-633, c1990, c1991."--Title page verso.