Sentence examples for pulp noir from inspiring English sources

Lavie Tidhar's Osama (PS Books) addresses questions of contemporary terrorism, politics and culpability through the vigorous hokum of pulp noir and alternate history, to vivid effect.

It was reprinted in 2005 by the Feminist Press in its Femmes Fatales series, which features pulp, noir and mystery novels by women of the 1930s, '40s and '50s.

Robert Rodriguez and Frank Miller's Sin City is a flagrant pulp noir, a deeply unwholesome guignol fantasy based on Miller's graphic novels, populated by cops and tough guys eagerly fighting in the war on paedophilia, sadism and general wrongdoing, but often on the wrong side.

Donald Cammell's Wild Side is the posthumous "director's cut" of Cammell's fourth and last work, and it is one of the most extraordinary, bizarre and uproarious films that you can see this year - a dreamlike sortie into eroticism and crime and neurosis which results in a black comedy pulp noir.

Adolescent exposure to The Charge of the Light Brigade, which I went to see only because I fancied David Hemmings, sent me scurrying off to read everything I could find on the Crimean war, but it was the pulp noir Kiss Me Deadly that got me started on Christina Rossetti, and I first discovered Puccini's Manon Lescaut via the video nasty I Spit on Your Grave.

The golden age of pulp noir detective novels is long gone, but their covers -- hand-painted, dramatic, misogynist -- have become symbolic of a genre and an aesthetic that speak of guns, broads and crimes of passion.

As rumpled and watchful as a pulp-noir antihero, Russell Wattenberg approached another day in the grip of his nonprofit obsession, looking into the night book bin outside his basement door to see what freebies had turned up.

Robert Rodriguez and Frank Miller's Sin City is the guignol pulp-noir based on Miller's graphic novels, shot in brilliant and starkly defined monochrome on which splashes of lurid colour show up like wounds.

One part True Detective, one part Dukes of Hazzard, it's the perfect Revisionist Western for the Golden Age of TV: two superb actors blowing the saloon doors off of pre-established notions of pulp-noir masculinity.

Instead, the Kings have found fresh angles on pulp and noir, blending such stories with their trademark emphasis on Silicon Valley and technology, often using memorable characters like the creepy wife-killer Colin Sweeney (the great Dylan Baker).

Well, if pipe-smoking, chin-stroking sophisticates like stories about characters from fairytales living in New York, pulp comic noir, and Neil Gaiman's Sandman series.