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Violence and corruption sell big, especially since the birth of action cinema, but even from cinema’s earliest days, the public has been delighted to be stunned by screen representations of negativity in all its forms—evil, monstrosity, corruption, ugliness, villainy, and darkness. Bad examines the long line of thieves, rapists, varmints, codgers, dodgers, manipulators, exploiters, conmen, killers, vamps, liars, demons, cold-blooded megalomaniacs, and warmhearted flakes that populate cinematic narrative. From Nosferatu to The Talented Mr. Ripley, the contributors consider a wide range of genres and use a variety of critical approaches to examine evil, villainy, and immorality in twentieth-century film.

Table of Contents

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  1. Cover
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  1. Frontmatter
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  1. BAD
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  1. CONTENTS
  2. pp. ix-vii
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  1. ILLUSTRATIONS
  2. pp. xiii-xvi
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  1. ACKNOWLEDGMENTS
  2. pp. xvii-xviii
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  1. INTRODUCTION. From Bad to Worse
  2. pp. 1-18
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  1. PART I: It’s a Slimy World, After All
  1. 1. Flickers: On Cinema’s Power for Evil
  2. pp. 21-38
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  1. 2. Monstrosity and the Bad-White-Body Film
  2. pp. 39-54
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  1. 3. Beyond the Thin Line of Black and Blue: Movies and Police Misconduct in Los Angeles
  2. pp. 55-64
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  1. 4. Genocidal Spectacles and the Ideology of Death
  2. pp. 65-78
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  1. 5. Bad, Worse, Worst: 8MM and Hollywood’s Bad Boys of Porn
  2. pp. 79-92
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  1. 6. Toxic Corps: Rage against the Corporate State
  2. pp. 93-108
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  1. 7. The Ghost World of Neoliberalism: Abandoning the Abandoned Generation
  2. pp. 109-124
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  1. PART II: Auteurs of Negativity, Icons of Darkness
  1. 8. “How Will I Get My Opium?”: Jean Cocteau and the Treachery of Friendship
  2. pp. 127-142
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  1. 9. The Sweeter the Kitten the Sharper the Claws: Russ Meyer’s Bad Girls
  2. pp. 143-156
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  1. 10. Wanted for Murder: The Strange Case of Eric Portman
  2. pp. 157-172
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  1. 11. The Arch Archenemies of James Bond
  2. pp. 173-186
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  1. 12. From Fu Manchu to M. Butterfly and Irma Vep: Cinematic Incarnations of Chinese Villainy
  2. pp. 187-200
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  1. 13. On the Bad Goodness of Born to Be Bad: Auteurism, Evaluation, and Nicholas Ray’s Outsider Cinema
  2. pp. 210-212
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  1. 14. The Villain in Hitchcock: “Does He Look Like a ‘Wrong One’ to You?”
  2. pp. 213-222
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  1. PART III: The Charisma of Villainy
  1. 15. The “Evil Medieval”: Gender, Sexuality, Miscegenation, and Assimilation in Cat People
  2. pp. 225-238
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  1. 16. Wicked Old Ladies from Europe: Jeanne Moreau and Marlene Dietrich on the Screen and Live
  2. pp. 239-254
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  1. 17. Darkness Visible: Images of Nazis in American Film
  2. pp. 255-272
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  1. 18. “The Whole Fucking World Warped around Me”: Bad Kids and Worse Contexts
  2. pp. 273-286
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  1. 19. Searching for Blobby Fissures: Slime, Sexuality, and the Grotesque
  2. pp. 287-300
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  1. 20. Crazy Like a Prof: Mad Science and the Transgressions of the Rational
  2. pp. 301-314
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  1. 21. Tom Ripley’s Talent
  2. pp. 315-330
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  1. CONTRIBUTORS
  2. pp. 331-336
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  1. INDEX
  2. pp. 337-357
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