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Noir City Annual No. 13 Paperback – January 1, 2021
- LanguageEnglish
- PublisherEddie Muller
- Publication dateJanuary 1, 2021
- ISBN-100982297319
- ISBN-13978-0982297315
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Product details
- Publisher : Eddie Muller (January 1, 2021)
- Language : English
- ISBN-10 : 0982297319
- ISBN-13 : 978-0982297315
- Item Weight : 12 ounces
- Best Sellers Rank: #1,467,109 in Books (See Top 100 in Books)
- Customer Reviews:
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About the authors

Will “the Thrill” Viharo is an "existential pulp fiction" author, B movie impresario and lounge lizard at large. His published bibliography includes the retrospective anthology series The Thrillville Pulp Fiction Collection Volumes 1-3, featuring the standalone novels A Mermaid Drowns in the Midnight Lounge, Freaks That Carry Your Luggage Up to the Room, Down a Dark Alley, Lavender Blonde, and Chumpy Walnut, plus sundry short stories; the erotic horror noir novella Things I Do When I’m Awake; a collection of erotic horror stories VIHORROR! Cocktales of Sex and Death; the omnibus The Vic Valentine Classic Case Files; a sub-series called “The Vic Valentine Mental Case Files” which includes the novels Vic Valentine: International Man of Misery, Vic Valentine: Lounge Lizard For Hire, Vic Valentine: Space Cadet; two collections, Vic Valentine, Private Eye: 14 Vignettes and Vic Valentine Fever Dreams; and the novella All Souls Are Final. Gutter Books published the Vic Valentine novels Love Stories Are Too Violent For Me (optioned for a film by Christian Slater) and Hard-boiled Heart. Additionally, Will has written two sci-fi collaborations with Scott Fulks, It Came From Hangar 18 and The Space Needler’s Intergalactic Bar Guide. His latest book which he considers to be his magnum opus is a memoir entitled Graffiti in the Rubber Room: Writing For My Sanity. For more info visit www.willviharo.com and www.thrillville.net.

Jake Hinkson is the author of the award-winning novels Hell On Church Street and No Tomorrow, the short story collection The Deepening Shade, and the essay collection The Blind Alley: Exploring Film Noir’s Forgotten Corners. His books have been translated into French and Italian, and he is the 2018 recipient of France's prestigious Grand Prix de littérature policière (for No Tomorrow), as well as the 2016 recipient of the Prix Mystère de la critique (for Hell On Church Street). Born in Arkansas and raised in the Ozarks, he currently lives in Chicago.
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Opener “Black Rain” showcases post war Japanese Noir. From the hard boiled prostitutes shifting in “Women In The Night” to the Hamlet inspired “The Bad Sleep Well” to the opportunistic hustler in “Black River.”
Christa Faust, whom I heckled in a previous issue, offers a lineup of older women in “Stars Are Ageless.” This outing, her choices are inspired and off the beaten track. Three recent Neo-Noirs she mentioned were new to me, and I hunted them down.
I was unfamiliar with French writer / director José Giovanni. Imogen Sara Smith’s article makes a good case for his books and key films, though not for his tawdry history.
There is a nice overview of plum Jô Shishido roles, which ought to be useful to the curious or to newcomers to foreign Noir.
The underrated Zachary Scott merits respect in a list of his darker work. There is also an informative piece on Hubert Cornfield. I did not know his work and will try to rectify that.
Add a great Bill Duke article, as well as a “Black Caesar” appraisal. Right on.
As always, these Noir City Annuals do not stay in print long. Reprints ought to be p.o.d. but they are not (I mention this every review). Buy now.
Covering everything from obscure and "lost" films to long-forgotten actors and actresses, the Noir City Annual assembles an astonishing array of informative, opinionated and intelligent articles, managing to avoid the dry, academic quality that often plagues cinematic critique by never forgetting the roots of its subject matter: cheaply made, skin-of-your-teeth, bottom-of-the-bill B (and sometimes lower!) pictures which, not surprisingly, are more representative of their respective eras than most of the higher profile "prestige" films made at the same time.
Highly recommended to film fans in general and, in particular, to those who appreciate the fine art of low budget movie-making; the interviews with actors and directors of the period provide more educational value to the serious student than an entire semester of film school.
The Film Noir Foundation ([...]) is to be applauded for this compilation and one looks forward to more.




