Bøger af Dennis Broe

In The House That Buff Built, detectives Harry Palmer and Crystal Eckart expose the crime lurking not just on the seedy backstreets of LA but also on the gleaming main streets of the real estate paradise of suburban boom towns in the early '50s. Everywhere they find dispossession in the Mexican, Negro and especially Chinese communities, all of which may be sparked by land holding interests tied to major media outlets. The trail is perilous and leads both of them to question how they can live and love amid so much corruption and double dealing. "A Chinese American woman fears for her life in her first night in in the house she's bought in an all-white suburb. The only one who'll help her kung-fu Maoist daughter protect her is a low-rent private dick, Harry Palmer. Dennis Broe's newest meta-noir drops his shamus into the corruption and racism of 1950's L.A. real estate. It's a heady trip among a galaxy of career lowlifes with delirious prose framing this metamorphosis of fact and fiction through a lost and insidious history." -David James, USC Professor of Film and Television and author of Rock 'N' Film: Cinema's Dance With Popular Music. "Dennis Broe's latest is a farrago of invention not just about Los Angeles in the 'urban removal' era but about the corporate politics behind that same process in every major American city in the postwar period. Another triumph linking the criminal underworld to villainy in the suites." -Eric Gordon, LA Progressive "Harry and Crystal's dogged pursuit of the truth leads to an exposing of the double dealing that underlies the effusion of corruption which engulfs LA society in one of the darkest periods of its history. The House That Buff Built examines the real estate industry whose pillaging led the city to its current housing crisis"--Crime Time

“Dennis Broe, a renowned scholar of film noir, has written his own hard-boiled noir masterpiece, sprinkled with murder, blackmail, and sexual intrigue”—Peter Kuznick, co-author with Oliver Stone of The Untold History of the United States  “A terse mash-up of hard-boiled prose and good old-fashioned historical research” --Jon Lewis, author of Hard-Boiled Hollywood: Crime and Punishment in Postwar Los Angeles “A well-written, entertaining pastiche of the Chandler/Ross Macdonald style. Its theme – the blacklisting of central Hollywood characters” ––Gunnar Staalesen, author of the Varg Veum novels and predecessor to Stieg Larsson, Jo Nesbo and Henning Mankell “A gripping crime thriller [and] a wild rollercoaster ride through the many physical and social environments of Los Angeles of the late 1940s. From palatial mansions to studio lots with the glamorous stars to seedy offices and dives, to tiny bungalow apartments where wannabe starlets pool resources to live until their big break comes along”—Eric Gordon, Better Lemons Critic Award, 2019ΓÇï“One of the fun things in writing the novel was the thrill of using many of the stories I knew from having briefly worked in Hollywood and from having studied it for so long. In the novel I get to retell them but with a slight twist in a way that makes them even more suspenseful” –Interview with the author on Barry Forshaw’s Crime TimeLeft of Eden is a sordid noir set in postwar Hollywood at the moment when everything in the film industry and the country is about to change because of the looming McCarthy witch hunt and the blacklist. Detective Harry Palmer follows a trail of murder and mayhem that exposes the inner workings of the town and includes: one of the biggest studio heads, New York banker-financiers, writers and directors being hounded by the F.B.I., two-fisted union leaders who act like gangsters, actress wannabees living on the edge, the twisted family of a Hollywood starlet, and the most beautiful and desired woman in the town at the moment.Detective Harry Palmer has been kicked off the LAPD Homicide Squad for graft but that gives him just the right credentials to try to foil a badger or blackmail plot against activist actor Jason “Gabby” Gabriel for a supposed liaison with the underaged daughter of his former co-star. Harry becomes friends with Gabby who is about to be called to testify about his politics, falls hard for Gabby’s beautiful girlfriend, and must wind his way through the labyrinth of a duplicitous starlet’s family as all around him the bodies are dropping and as everyone seems to want to cash in on Gabby’s fast-talking personality, whether he is alive or dead.Harry will be back, exploring the dark corridors of LA’s aerospace and defense industry in A Hello to Arms and caught in the labyrinth of the drug trade involving his former police mates and the ever expanding pharmaceutical industry in The Precinct With the Golden Arm. 

Describes serial television and "binge watching". Dennis Broe looks at this practice of media consumption by suggesting that the history of seriality itself is a continual battleground between a more unified version of truth-telling and a more fractured form of diversion and addiction.

Class, Crime and International Film Noir argues that, in its postwar, classical phase, this dark variant of the crime film was not just an American phenomenon. Rather, these seedy tales with their doomed heroes and heroines were popular all over the world including France, Britain, Italy and Japan.

Airing on ABC from 1957 to 1962, Maverick appeared at a key moment in television Western history and provided a distinct alternative to the genre's usual moralistic lawmen in its hero, Bret Maverick. A non-violent gambler and part-time con man, Maverick's principles revolved around pleasure and not power, and he added humor, satire, and irony to the usually grim-faced Western. In this study of Maverick, author Dennis Broe details how the popular series mocked, altered, and undermined the characteristics of other popular Westerns, like Gunsmoke and Bonanza. Broe highlights the contributions made by its creators, its producer, Roy Huggins, and its lead actor, James Garner, to a format that was described as "e;the American fairy tale."e; Broe describes how Garner and Huggins struck blows against a feudal studio system that was on its last legs in cinema but was being applied even more rigidly in television. He considers Maverick as a place where multiple counter-cultural discourses converged-including Baudelaire's Flaneur, Guy DeBord's Situationists, and Jack Kerouc's Beats-in a form that was acceptable to American households. Finally, Broe shows how the series' validation of Maverick's outside-the-law status punctured the Cold War rhetoric promoted by the "e;adult"e; Western. Broe also highlights the series' female con women or flaneuses, who were every bit the equal of their male counterparts and added additional layers to the traditional schoolteacher/showgirl Western dichotomy. Broe demonstrates the progressive nature of Maverick as it worked to counter the traditional studio mode of production, served as a locus of counter-cultural trends, and would ultimately become the lone outpost of anti-Cold War and anti-establishment sentiments within the Western genre. Maverick fans and scholars of American television history will enjoy this close look at the classic series.

Film noir, which flourished in 1940s and 50s, reflected the struggles and sentiments of postwar America. Dennis Broe contends that the genre, with its emphasis on dark subject matter, paralleled the class conflict in labor and union movements that dominated the period.By following the evolution of film noir during the years following World War II, Broe illustrates how the noir figure represents labor as a whole. In the 1940s, both radicalized union members and protagonists of noir films were hunted and pursued by the law. Later, as labor unions achieve broad acceptance and respectability, the central noir figure shifts from fugitive criminal to law-abiding cop.Expanding his investigation into the Cold War and post-9/11 America, Broe extends his analysis of the ways film noir is intimately connected to labor history. A brilliant, interdisciplinary examination, this is a work that will appeal to a broad spectrum of readers.