Tag Archives: Umberto Eco

The Role of the Swiper

Something that haunts our culture is whether an Arts education has any tangible or real, or frankly, even intangible value. A bachelor’s degree in Engineering produces a Worker, ready to go forth and Engineer things, similarly for Nurses, Accountants, Lawyers, … Continue reading

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X-Films: Confessions of a Radical Film Maker [2008]

Alex Cox came to my attention when I picked up Alex Cox’s Film 101, which is a compilation of his lecture notes from a guest course he taught. His introduction to film was very idiosyncratic, representing his own experience as … Continue reading

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Reflexivity in Remington Steele

Remington Steele was a lightly comedic detective procedural from the early 1980s. It had two gimmicks – front and centre is the conceit that Remington Steele is a fraud, an invention of the real detective, Laura Holt, who was not … Continue reading

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As I have commented before, criticism has a binary drive of love and dissatisfaction. It’s not easy to bother to be critical about works that don’t in some way touch your heart, but with the things that completely satisfy you … Continue reading

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The Name of the Rose [1986]

The one-sentence summary of my MA might be something like this – Crime fiction is not about solving a puzzle, it is about the contest for the rights to tell the story of the crime. In the execution of the … Continue reading

Posted in Criticism, Film, Literature, The Mystery-Investigation Complex | Tagged , , , | 4 Comments

The Simple Art of Murdering Dashiell Hammett

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Six Walks in the Fictional Woods

Umberto Eco is one of the leading scholars in the field of “Semiotics”, a term which I barely understand but which in my dummy’s terms is about systems of signs. In my sub-specialist field of literary endeavour, these would be … Continue reading

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