Neon Noir, the follow-up to Woody Haut's highly regarded Pulp Culture, brings the story of American crime fiction and film uptodate. From the Kennedy assassination to the Vietnam War and Watergate, through Reaganomics to Irangate and Whitewater, Neon Noir is a roller-coaster ride through the American nightmare. Haut investigates the dark side of America through the work of crime writers such as James Ellroy, Elmore Leonard, Walter Mosley, James Lee Burke, Lawrence Block, James Sallis, George Pelecanos, Charles Willeford, Jerome Charyn, Sara Paretsky, Vicki Hendricks, KC Constantine, George V Higgins and James Crumley. Mapping the fissures and scars of America's psychogeography, its morally ambiguous shadowlands, Neon Noir also considers the difference between past and present hardboilers, the impact of war and journalism on noirists, the portrayal of cities, the aesthetics of crime fiction, and the changing relationship between the books and the films. Like Pulp Culture, Neon Noir is set to become the reference book on its subject.

Neo-noir knows its past. It knows the rules of the game – and how to break them. From Point Blank (1998) to Oldboy (2003), from Get Carter (2000) to 36 Quai des Orfèvres (2004), from Catherine Tramell to Max Payne, neo-noir is a transnational global phenomenon. This wide-ranging collection maps out the terrain, combining genre, stylistic and textual analysis with Marxist, feminist, psychoanalytic and industrial approaches. Essays discuss works from the US, UK, France, Japan, South Korea, Hong Kong and New Zealand; key figures, such as David Lynch, the Coen Brothers, Quentin Tarantino and Sharon Stone; major conventions, such as the femme fatale, paranoia, anxiety, the city and the threat to the self; and the use of sound and colour.

Film noir is a classic genre characterized by visual elements such as tilted camera angles, skewed scene compositions, and an interplay between darkness and light. Common motifs include crime and punishment, the upheaval of traditional moral values, and a pessimistic stance on the meaning of life and on the place of humankind in the universe. Spanning the 1940s and 1950s, the classic film noir era saw the release of many of Hollywood's best-loved studies of shady characters and shadowy underworlds, including Double Indemnity, The Big Sleep, Touch of Evil, and The Maltese Falcon. Neo-noir is a somewhat loosely defined genre of films produced after the classic noir era that display the visual or thematic hallmarks of the noir sensibility. The essays collected in The Philosophy of Neo-Noir explore the philosophical implications of neo-noir touchstones such as Blade Runner, Chinatown, Reservoir Dogs, Memento, and the films of the Coen brothers. Through the lens of philosophy, Mark T. Conard and the contributors examine previously obscure layers of meaning in these challenging films. The contributors also consider these neo-noir films as a means of addressing philosophical questions about guilt, redemption, the essence of human nature, and problems of knowledge, memory and identity. In the neo-noir universe, the lines between right and wrong and good and evil are blurred, and the detective and the criminal frequently mirror each other's most debilitating personality traits. The neo-noir detective—more antihero than hero—is frequently a morally compromised and spiritually shaken individual whose pursuit of a criminal masks the search for lost or unattainable aspects of the self. Conard argues that the films discussed in The Philosophy of Neo-Noir convey ambiguity, disillusionment, and disorientation more effectively than even the most iconic films of the classic noir era. Able to self-consciously draw upon noir conventions and simultaneously subvert them, neo-noir directors push beyond the earlier genre's limitations and open new paths of cinematic and philosophical exploration.

A washed-up P.I bent on redeeming his career is sent for a ride when a mysterious note is delivered to his office. With reports of missing people, Dalton sets out following clues in a city covered in neon lights. Little does he know that a bigger crime awaits as he is watched from the shadows by curious eyes. Will he solve it in time or die trying?Paperback bonus A sneak-peek at Neon Noir Episode 2: Dying of the LightFollow Dalton as he makes his way through the Neon City collecting clues in this action-packed follow-up.

Photographer Liam Wong’s debut monograph, a cyberpunk-inspired exploration of nocturnal Tokyo. Featuring evocative and stunning color photographs of contemporary Tokyo, this book brings together the images of an exciting new photographic talent, Liam Wong. Born and raised in Edinburgh, Scotland, Wong studied computer arts in college and, by the time he was twenty-five, was living in Canada and working as a director at one of the world’s leading video game companies. His job took him to Tokyo for the first time, where he discovered the ethereality of floating worlds and the lurid allure of Tokyo’s nocturnal scenes. “I got lost in the beauty of Tokyo at night,” he explains. A testament to the deep art of color composition, this publication brings together a refined body of images that are evocative, timeless, and completely transporting. This volume also features Wong’s creative and technical processes, including identifying the right scene, capturing the essence of a moment, and methods to enhance color values—insights that are invaluable to admirers and photography students alike.

A collection of stories about the outsiders - the criminals, the soldiers, the addicts, the mathematicians, the gamblers and the cage fighters, the refugees and the rebels. From the battlefield to alternate realities to the mean streets of the dark city, we walk in the shoes of those who struggle to survive in a neon-saturated, tech-noir future. Twelve hard-edged stories from the dark, often violent, sometimes strange heart of cyberpunk, this collection - as with all the best science fiction - is an exploration of who were are now. In the tradition of Dashiell Hammett, Philip K Dick, and David Mitchell, Neon Leviathan is a remarkable debut collection from a breakout new author. "Haunting and iridescent--combines the paranoid weirdness of the best Philip K Dick, the chilly but cool-as-fuck future gleam of cyberpunk, and an achingly beautiful literary inflection reminiscent of mainstream heavyweights like Murakami or Ishiguro. T. R. Napper's futures feel at once gritty and vertiginous and close-focus human in the way only the best SF can manage. Whatever roadmap he's working from, I can't wait to see where he's taking us next." Richard Morgan, author of Altered Carbon "It is easier to write about violence than to write about the aftermath--the grief, the guilt, the long-held trauma. It's easier to write about the shouted argument than the taut silence which follows it. It's easier to write about dreamlike unreality than it is to invest a reader in the mundane and the everyday. And yet the stories within Neon Leviathan balance all these competing demands with a deft and masterful hand." Adrian Tchaikovsky, author of Children of Time "Heartbreaking... it evokes the depth of Chinese history, the successive wars, the poetry that expresses both the love of the landscape and the pain of the soldier leaving home, perhaps never to return." (for Dark on a Darkling Earth) Lois Tilton, Locus Magazine "T. R. Napper's cyberpunk story is a standout [in the collection], featuring a download with the tension of a high-speed chase" (for Twelve Minutes to Vinh Quang) Publisher's Weekly "The story is by turns blackly funny, speculatively impressive, and bleakly moving." (for A Strange Loop) Rich Horton, Locus Magazine "Wonderfully strange" (for An Advanced Guide to Successful Price-Fixing in Extra-Terrestrial Betting Markets) Sci Fi Review "Darkly gonzoid" (for An Advanced Guide to Successful Price-Fixing in Extra-Terrestrial Betting Markets) Lois Tilton, Locus Magazine "Thrilling and Moving" (for Ghosts of a Neon God) Rocket Stack Rank "The whole reads like a fever dream" (for Great Buddhist Monk Beat Down) Tangent Online