Lonely Places
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In Lonely Places
Although film noir is traditionally associated with the mean streets of the Dark City, this volume explores the genre from a new angle, focusing on non-urban settings. Through detailed readings of more than 100 films set in suburbs, small towns, on the road, in the desert, borderlands and the vast, empty West, the author investigates the alienation expressed by film noir, pinpointing its motivation in the conflict between desires for escape, autonomy and freedom--and fears of loneliness, exile and dissolution. Through such films as Out of the Past, They Live by Night and A Touch of Evil, this critical study examines how film noir reflected radical changes in the physical and social landscapes of postwar America, defining the genre's contribution to the eternal debate between the values of individualism and community.
Lonely Places, Dangerous Ground
A range of approaches to the directors life and work. The director of such classic Hollywood films as In a Lonely Place, Johnny Guitar, and Rebel Without a Cause, Nicholas Ray nevertheless remained on the margins of the American studio system throughout his career, and despite his cult status among auteurist critics and cinephiles, he has also remained at the margins of film scholarship. Lonely Places, Dangerous Ground offers twenty new essays by international film historians and critics that explore the directors place in the history of the Hollywood industry and in the larger institution of cinema, as well as a 1977 interview with Ray that has never before been published in its entirety in English. In addition to readings of Rays most celebrated films, the book provides a range of approaches to his life and work, engaging new questions of his cinematic authorship with areas that include history and culture, politics and society, gender and sexuality, style and genre, performance, technology, and popular music. The collection also looks at Rays lesser-known and underappreciated films, and devotes attention to the highly experimental We Cant Go Home Again, his recently restored final film made in the 1970s with his students at Binghamton University, State University of New York. Rediscovering what Ray means to contemporary film studies, the essays show how his films continue to possess a vital power for film history and criticism, and for film culture.
The Lonely Places
In the electrifying tradition of Minette Walters and Ruth Rendell, J. M. Morris savagely plumbs the depths of psychological terror in an uncompromising and brutally brilliant suspense debut. The Lonely Places etches a fiendishly compelling portrait of madness and menace, eroticism and terror, that pits a woman’s mind against a world where nothing is as it seems. THE LONELY PLACES “Then along came a spider Who sat down beside her...” Ruth Gemmill is broken. All she has known, all she has loved, all she has ever desired, have laid her waste. As autumn’s shadows begin to seep through her London home, Ruth escapes to the fading twilight of northern England in a last, desperate attempt to stave off the encroaching darkness. She needs the consolation of her brother, Alex: a man she cannot breathe without. It’s not the first time. She couldn’t breathe without Matt either. Matt, who used to beat her. Matt, who loved to hurt her. Matt, whom she loved with a masochistic passion that destroyed everything in its path. But Ruth moved on, reinvented herself. Ruth found the strength to escape the terrifying abuse of her domestic existence. Or so she would like to think. Little does she realize the extent of the crippling cobwebs her vicious lover has spun throughout her mind. But in the grim, foreboding town of Greenwell, where her brother now lives, fate deals Ruth another blow. For Alex has disappeared. To bring him safely home, she will be forced to confront her emotional demons through a bewildering landscape, where the phantoms of a menacing past lurk around every corner, wielding memories, determined to wake Ruth up to the most horrifying reality of all. Some webs can never be swept away, some spiders sting to destroy.... With chilling emotional precision and searing insight, J. M. Morris has created a novel that is at once devastatingly plausible, utterly poignant—and impossible to forget.