HARD BOILED FICTION: A NARRATIVE TECHNIQUE
SOUMYA.S J Email: sjsoumyaa@gmail.com Mob: 08606432701 Guest Lecturer in English KMSM DB College, Sasthamcotta
ABSTRACT
Had boiled fiction is an American literary style, commonly associated with detective fiction. It follows a tough unsentimental style of writing that brought a new tone of earthy realism or naturalism to the field of detective fiction. Hard boiled fiction used graphic sex and violence, vivid but often sordid urban background, and first paced, slangy dialogues. Hardboiled science fiction is a genre that blends noir with an American style detective fiction, within a much defined
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Whereas Noir has a tendency to amalgamate the two into a complete and very ordered civilization, the hard boiled hero oscillates between two worlds; he can communicate with his bourgeois client but liaisons too with his bulldog-faced lead. This ensures Pulp’s epistemological appeal. A 1937 issue of Harper’s magazine denounced hard-boiled fiction as the stuff of immature minds. Interestingly, even with the arguably detrimental blank canvas-like nature of the characterization, success of hard-boiled fiction was on the rise. The popularization of the hard boiled hero was because of the consumer’s desire for it. To identify, as we all know, is a key element to a book’s success in the marketplace, so readers really saw themselves in these stiff stark misogynist men. The way these novels dealt with postwar anxiety certainly played a big part in this. For Frank Krutnik, noir males were internally divided and alienated from the culturally permissible or ideal parameters of masculine identity, desire and achievement. Thus, readers could see, identify and project themselves both in and apart from their rapidly shifting even frightening modern …show more content…
Black Mask moved exclusively to publishing detective stories in 1933, and pulp's exclusive reference to crime fiction probably became fixed around that time, although it's impossible to pin down with precision. The hardboiled crime story became a staple of several pulp magazines in the 1930s; in addition to Black Mask, hardboiled crime fiction appeared in Dime Detective and Detective Fiction Weekly. Later, many hardboiled novels were published by houses specializing in paperback originals, also colloquially known as "pulps".
Consequently, "pulp fiction" is often used as a synonym for hardboiled crime fiction or gangster fiction; some would distinguish within it the private-eye story from the crime novel itself. In the United States, the original hardboiled style has been emulated by innumerable writers, including Sue Grafton, Chester Himes, Paul Levine, John D. MacDonald, Ross Macdonald, Jim Butcher, Walter Mosley, Sara Paretsky, Robert B. Parker, and Mickey
In the article “The Thematic Paradigm” exerted from his book, A Certain Tendency of the Hollywood Cinema, Robert Ray provides a description of the two types of heroes depicted in American film: the outlaw hero and the official hero. Although the outlaw hero is more risky and lonely, he cherishes liberty and sovereignty. The official hero on the other hand, generally poses the role of an average ordinary person, claiming an image of a “civilized person.” While the outlaw hero creates an image of a rough-cut person likely to commit a crime, the official hero has a legend perception. In this essay, I will reflect on Ray’s work, along with demonstrating where I observe ideologies and themes.
It is very interesting to note how the conventions of 1940’s hardboiled private eye fiction translate into the 1970’s. The low-rent drabness of the genre loses much of its allure. The dark shadows and long nights of urban Los Angeles become the bright lights and warm sunshine of Malibu beaches. The detective’s normally snappy dialogue turns into joking asides. Marlowe’s hardboiled narration becomes the self-conscious mutterings of a lonely man talking to himself. The romantic myth of a man set apart from the city is turned on its head as a pathetic man living alone with his cat.
In contemporary film making, “Hollywood-ization” generally refers to the re-creation of a classic work in a form more vulgar and sexually explicit than the original in an effort to boost movie attendance. After all, sex and violence sell. However, from the mid-1930’s to the 1950’s, “Hollywood-ization” referred to the opposite case where controversial books had to be purified to abide by the Production Code of 1934.[1] This occurred to many of James Cain’s novels as they moved from text to the genre of “film noir.” As has been said about Cain’s The Postman Always Rings Twice, “The property, bought several years ago, was kept in the studio’s archives until now because of [Metro-Goldwyn-Mayer’s] “inability to clean it up.””[2] The sanitation of Cain’s novels greatly took from the strong themes of female emotional and financial independence that were rarely addressed at that time as they were adapted for the screen.
Iocco, Melissa. "Addicted To Affliction: Masculinity and Perversity In Crash and Fight Club." Gothic Studies 9.2 (2007): 46-56. Humanities Full Text (H.W. Wilson). Web. 16 April 2014.
Ro... ... middle of paper ... ... and why they are as ruthless, brutal and cold-blooded as they are. The iconography in the films showing the guns, wealth and costumes sets up the genre as well as the standard conventions of a gangster film such as murders, crimes and violence which also appears in all three. The dialogue in Pulp Fiction and Goodfellas also establishes the narrative because it sets the scene of the story.
That is right! Guns, violence, drugs, dungeons, and dancing come together to create Quentin Tarantino’s film feature, instant classic. Pulp Fiction is an absurd comedy that blends together the trivial with “lurid subject matter”, as “Pulp” is defined at the start of the movie, which makes the serious inconsequential and the insignificant relevant; made up of multiple people’s stories of desperate search for a fulfilling, successful life, the stories come together like a puzzle and entice the viewer through sheer curiosity. And just like any Quentin Tarantino film, some will love it and some will scoff at its mention.
American literature refers to written or literary work produced in the area of the United States and Colonial America. It has many forms and different kinds of authors within its genre. One American author, Flannery O'Connor, is known for her Southern Gothic style of writing. In her short story, "A Good Man is Hard to Find" O'Connor uses the Southern Gothic style, brought on by her background, to establish various ties between the characters and their actions.
...ense. All four of those characteristics make up the basis of this genre. “The hard-boiled detective was created in the pages of Black Mask magazine in the early 1920s by Carroll John Daly, a largely forgotten hack. He was immediately followed by Dashiell Hammett, who brought real talent to the genre and gave it literary credentials” (Penzler). Daly also created one of the first series of private eye novels, topping Hammett as one of the most famous authors of that time. Not soon after, the author of “The Big Sleep”, Raymond Chandler, closely trails after Hammett in his novel writing becoming vastly popular. “Raymond Chandler followed Hammett with his immortal Philip Marlowe in The Big Sleep and eight subsequent novels. As a pure writer whose use of simile and metaphor has never been equaled, Chandler remains one of the giants of 20thcentury literature” (Penzler).
In the classical Western and Noir films, narrative is driven by the action of a male protagonist towards a clearly defined, relatable goal. Any lack of motivation or action on the part of the protagonist problematizes the classical association between masculinity and action. Due to inherent genre expectations, this crisis of action is equivalent to a crisis of masculinity. Because these genres are structured around male action, the crises of action and masculinity impose a crisis of genre. In the absence of traditional narrative elements and character tropes, these films can only identify as members of their genres through saturation with otherwise empty genre symbols. The equivalency between the crises of genre and masculinity frames this symbol saturation as a sort of compensatory masculine posturing.
Film Noir was a movement born from the disillusionment of post-war Americans. The term was coined by French critics who, after not having had access to American films since before World War II, were astonished by the “darkness” of post-war Hollywood cinema. Film noir did not provide the escape previous Hollywood films offered during the Great Depression, but instead confronted the audience with its characteristic anxiety-inducing style. The settings of these films were oppressively grim, where light came into rooms only through the slants of blinds over windows, or not at all, and shadows hovered over the faces of villains and heroes alike. The characters of film noir were predictable—the “proletariat tough-guy” contended by the “femme fatale”—each an embodiment of corruption, vice, and seedy morals (Benton ). Themes of sexual aberration and crime were woven into narratives that centered on murder and adultery. Presented in low-lighting and skewed angles, film noir was meant to psychologically disturb and disorient it viewers. The film, Double Indemnity, is a prime example of film noir in that it accomplishes the goal of film noir to unsettle its audience through its style, setting, characters, and themes.
Studies in Modern Fiction. 11.2 (1969): 47-55. Rpt. In Short Story Criticism. Vol. 4. Ed. Thomas Votteler. Detroit: Gale, 1990. 356-358. Print.
Works Cited Abrams, M.H. "Gothic Novel." A Glossary of Literary Terms. 9th ed. Boston:
Sedgwick, Eve Kosofsky. "Paranoid Reading and Reparative Reading; Or, You're So Paranoid, You Probably Think This Introduction is About You." Novel Gazing: Queer Readings in Fiction. Ed. Eve Kosofsky Sedgwick. Durham: Duke UP, 1997. 1-37.
The film Pulp Fiction was an immediate box office success when it was released in 1994 and it was also well received by the critics, and celebrated for the way it appeared to capture exactly a certain pre-millennial angst and dislocation in Western capitalist societies. The term post-modernist, often used to refer to art and architecture, was applied to this film. The pulp fiction refers to popular novels which are bought in large numbers by less well educated people and enjoyed for their entertainment value. The implication is that the film concerns topics of interest to this low culture, but as this essay will show, in fact, the title is ironic and the film is a very intellectual presentation of issues at the heart of contemporary western culture and philosophy.
Following World War I and the strife it brought to American culture, seemingly good times were felt by all in the roaring twenties; however, the reality is expressed through the negative happenings of the “Lost Generation.” Published in 1926, Ernest Hemingway’s The Sun Also Rises acts as an allegory of the time, explaining the situations of American and foreign young adults of the “Lost Generation." The journey of Robert Cohn, Lady Bret Ashley and Jake Barnes and their experience abroad in France is one of false relationships, the disparaging actions of women and the insecurity of men; moreover, the major issues of the time compile to form what people living in the 1920’s and historians postulate as the “Lost Generation.” As an enlightening tale, The Sun Also Rises is Hemingway’s portrayal of a morally ailing generation. In conclusion, Hemingway utilizes character description and symbolism in order to present the aimless destruction of the “Lost Generation.”