(Limelight). From the femme fatale of the early cinema to her post-feminist rebirth, this lavishly illustrated book and comprehensive guide traces the history of these dangerously alluring, manipulative, and desperate lethal ladies. Femme Fatale surveys the history of the femme fatale in world cinema, with more than 300 photographs testifying to the power of these mysterious women. The book begins with the silent period and its vamps, like Theda Bara, Pola Negri, Clara Bow, and Bebe Daniels, then moves on to the Pre-Code sound period of American films, which, showing liberated attitudes toward sex and women, featured actresses like Jean Harlow, Marlene Dietrich, and Greta Garbo. The story continues with the noir 1940s, when the femme fatale became truly lethal including actresses like Ava Gardner, Rita Hayworth, and Barbara Stanwyck. In the repressive 1950s, the international femme fatale took the fore Brigitte Bardot, Maria Felix, Elizabeth Taylor, Anita Ekberg, etc. Finally, the authors turn to the revolutionary post-feminist modern period, with an array of lethal ladies from all over the world, like Pam Grier, Salma Hayek, Gong Li, Angelina Jolie, and Sharon Stone.

"examines the changing social and economic status of women from the 1860s through the 1880s, and rejects the stereotypical mid-Victorian femme fatale portrayed by conservative ideologues critiquing popular fiction by Wilkie Collins, Mary Elizabeth Braddon, Honore de Balzac, and William Makepeace Thackeray. In these book reviews, the female protagonist is simply minimized to a dangerous woman. Refuting this one-dimensional characterization, this book argues that the femme fatale comes to represent the real-life struggles of the middle-class Victorian woman who overcomes major adversities such as poverty, abusive husbands, abandonment, single parenthood, limited job opportunities, the criminal underworld, and Victorian society's harsh invective against her." --publisher description.

My name is Blue—insert a mood-related joke here—and I’m a femme fatale in training. My goal is to join the CIA. Unfortunately, I have a tiny issue with birds, and the closest I’ve come to my dream is working for a government agency that’s disturbingly up-to-speed on everyone’s sexts, rants in private Facebook groups, and secret family chocolate-chip cookie recipes. I know I’m a spy cliché, that agent who works at a desk but craves fieldwork. However, I have a plan: I’m going to infiltrate the secretive Hot Poker Club, where I’ve spotted a mysterious, sexy stranger who I’m convinced is a Russian spy. And once I'm in? All I have to do is seduce the presumed spy without falling for him, so I can expose his true identity and prove my femme fatale bona fides to the CIA. I never lose concentration at work, so that'll be an absolute breeze for me. Oh, and did I mention he's sexy? I’m doing it for my country, not my ovaries, I pinky swear. WARNING: Now that you’ve finished reading this, your device will self-destruct in five seconds. NOTE: This is a standalone, raunchy, slow-burn romantic comedy featuring a quirky, spy-movie-obsessed heroine, a scorching hot maybe-Russian, several terrifying tales about birds, and lots of text debates about the relative cuteness of animals. If any of the above is not your cup of tea, run far, far away. Otherwise, buckle up for a laugh-out-loud, feel-good ride.

The last freelance P.I. on Earth, Zach Johnson has been hired to track down a young beauty who happens to be a deadly secret weapon for the World Council. Zach follows Natasha to various vacation destinations, but she eludes him, leaving a trail of destruction in her wake. Original.

A New York Review Books Original Whether you call her a coldhearted grifter or the soul of modern capitalism, there’s no question that Aimée is a killer and a more than professional one. Now she’s set her eyes on a backwater burg—where, while posing as an innocent (albeit drop-dead gorgeous) newcomer to town, she means to sniff out old grudges and engineer new opportunities, deftly playing different people and different interests against each other the better, as always, to make a killing. But then something snaps: the master manipulator falls prey to a pure and wayward passion. Aimée has become the avenging angel of her own nihilism, exacting the destruction of a whole society of destroyers. An unholy original, Jean-Patrick Manchette transformed the modern detective novel into a weapon of gleeful satire and anarchic fun. In Fatale he mixes equal measures of farce, mayhem, and madness to prepare a rare literary cocktail that packs a devastating punch.

In this work of feminist film criticism, Mary Ann Doane examines questions of sexual difference and knowledge in cinematic, theoretical, and psychoanalytic discourses. "Femmes Fatales" examines Freud, the female spectator, the meaning of the close-up, and the nature of stardom. Doane's analyses of such figures as Pabst's Lulu and Rita Hayworth's Gilda trace the thematics and mechanics of maskes, masquerade, and veiling, with specific attention to the form and technology of the cinema. Working through and against the intellectual frameworks of post-structuralist and psychoanalytic theory, Doane interrogates cinematic and theoretical claims to truth about women which rely on judgements about vision and its stability or instability. Reflecting the shift in conceptual priorities within feminist film theory over the last decade, "Femmes Fatales" addresses debates over female spectatorhsip, essentialism and anti-essentialism, the tensions between psychoanalysis and history, and the relations between racial and sexual difference. Doane's nuanced and original readings of the "femme fatale" in cinema illustrate confrontations between feminism, film theory and psychoanalysis. This book should be of interest to students and lecturers in women's studies, communications studies and film theory.

How does a Norwegian farm girl become an infamous American serial killer, responsible for upward of 40 murders? Born in rural Norway in 1859, "Belle" Storset Sorenson Gunness was constantly dealt bad hands in life—so she decided to take life into her own hands. In America's Femme Fatale: The Story of Serial Killer Belle Gunness, Jane Simon Ammeson traces Gunness's path from a poor teenager rejected by a wealthy lover; to a new wife in Chicago, desperate to escape the poverty of her childhood and impatient for a child to love; to an ambitious, widowed landowner in La Porte, Indiana. Ammeson's careful research reveals how the young immigrant slowly turned into one of America's most dangerous serial killers, allegedly murdering husbands, lovers, and children, and, for a price, disposing of inconvenient corpses for others. Ammeson brings this shocking story to life, detailing the suspicious neighbors who were cowed into silence by Belle's intimidating personality, the culture of orphanages trafficking children and matrimonial agencies, the carnival atmosphere that exploded around the pile of bones found on Gunness's farm, and the sensational reporting that filled newspapers for months. Perfect for true crime fans fascinated by the creation of a sociopathic serial killer, America's Femme Fatale will leave you entertained and looking over your shoulder.