“Somebody Let You in Here. Who? Why? That Takes Explaining”: The Riddle of Presence of Raymond Chandler in the World of Literature and Film Is Solved
Abstract
Book review of „Świat był przemoczoną pustką”. Czarny kryminał Raymonda Chandlera w literaturze i filmie [“The world was a wet emptiness”. Raymond Chandler’s Crime Noir in Literature and Film] (2015) by Patrycja Włodek. The book is devoted to the work of Raymond Chandler, one of the best crime writers ever. At the same time it is an attempt to rehabilitate a genre that is often looked down upon as popular or devoid of artistic qualities. Włodek convincingly shows that Marlowe and the world he lives in and in which he solves murder mysteries is not only literary fiction aimed at pure entertainment, but also a mirror image of existential anxieties that plagued Chandler, his era and the next generations. In this monograph the author not only vividly and convincingly presents the profile of the writer himself (a person as unique as the detective he created) and diligently examines his literary output, but also considers film adaptations of Chandler’s novels. Film noir and neo-noir undoubtedly immortalised the author of The Little Sister, but it is he who gave them the momentum and tone.
Keywords:
Patrycja Włodek, Raymond Chandler, crime story, adaptationReferences
Włodek, Patrycja, „Świat był przemoczoną pustką”. Czarny kryminał Raymonda Chandlera w literaturze i filmie, Wydawnictwo Naukowe Uniwersytetu Pedagogicznego, Kraków 2015.
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Authors
Kamila Żytokwartalnik.filmowy@ispan.pl
University of Lodz Poland
Filmoznawczyni, adiunktka w Katedrze Mediów i Kultury Audiowizualnej Instytutu Kultury Współczesnej UŁ. Autorka książki Strategie labiryntowe w filmie fikcji (2010). Współredagowała tomy Filmowe ogrody Wojciecha Jerzego Hasa (2011), Billy Wilder. Mistrz kina z Suchej Beskidzkiej (2011) oraz Od Cervantesa do Perez-Reverte’a. Adaptacje literatury hiszpańskiej i iberoamerykańskiej (2011). Interesuje się kinem polskim (ze szczególnym uwzględnieniem wątków związanych z wizerunkami Żydów i relacjami polsko-żydowskimi), kinem amerykańskim (kino noir) oraz kinem świata hiszpańskojęzycznego (głównie twórczością Carlosa Saury okresu późnego frankizmu i transformacji).
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