CONTENTS

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p. ix

List of Illustrations

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pp. xi-xii

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Introduction

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pp. 1-22

In 1901, R. W. Paul, one of Britain’s first filmmakers, released The Countryman and the Cinematograph, a film that reflexively “explains” cinema just five years into this new narrative form. It depicts a countryman at the movies, who mistakes cinematic illusion for real-world phenomena: he attempts to dance with a lovely on-screen dancing girl ...

PART ONE: DETECTIVE SERIES

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ONE: Private and Public Eyes - Sherlock Holmes and the Invisible Woman

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pp. 25-69

Consider figure 7, an illustration from Arthur Conan Doyle’s “A Scandal in Bohemia,” the first installment in what would become a long-running, endlessly influential series of short detective stories featuring Sherlock Holmes. Outside the context of the narrative, the image seems to represent an exchange of glances between a young man passing ...

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TWO: Beautiful For Ever! - Cosmetics, Consumerism, L. T. Meade, and Madame Rachel

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pp. 70-100

At the end of the last chapter, I turned from the criminological gaze to the consumerist image: let me brie›y recapitulate why this move is central to my project. As an image and representation, the female criminal unites two distinct and conflicting conceptions of visibility in late- Victorian crime fiction. In criminological discourse, as we saw in the last ...

PART TWO: CRIME FILM

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THREE: The Limits of the Gaze - Class, Gender, and Authority in Early British Cinema

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pp. 103-146

Historians of film debate such basic questions as who invented cinema and what year it first appeared, but all now agree that the early film archive, once relegated to the embarrassing category of “primitive” filmmaking, is a rich trove for understanding modern developments in culture, narrative, and visuality.1 In Britain, the Lumière brothers’ films ...

PART THREE: DYNAMITE NARRATIVE

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FOUR: Dynamite, Interrupted - Gender in James’s and Conrad’s Novels of Failed Terror

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pp. 149-185

Henry James’s 1886 novel The Princess Casamassima and Joseph Conrad’s 1907 novel The Secret Agent are in many ways two very different works—different in tone, style, and narrative voice—but both participate in a popular genre of crime narrative that emerged in 1880s Britain: the “dynamite novel.” Dynamite narrative treats the characteristically ...

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FIVE: “An Invitation to Dynamite” - Female Revolutionaries in Late-Victorian Dynamite Narrative

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pp. 186-222

Nineteenth-century iconography commonly represented “the spirit of revolution” with the image of a woman, but with the rise of dynamite narrative in the 1880s, female revolutionaries emerged as complex characters rather than abstract or allegorical symbols.1 There were hardly any real female political criminals in fin de siècle Britain, until the ...

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Afterword

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pp. 223-226

Sabotage, Alfred Hitchcock’s 1936 film adaptation of The Secret Agent, brought the visual aspects of dynamite narrative to the forefront of the story, making film itself a salient feature of the plot. In Joseph Conrad’s novel, Verloc and Winnie keep a shop that sells pornography and radical propaganda; in Hitchcock’s film, they operate a movie theater. In ...

Notes

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pp. 227-252

Films Cited

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pp. 253-254

Works Cited

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pp. 255-272

Index

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pp. 273-284