Domestic Noir

<div>1 Introduction to Domestic Noir&nbsp;Laura Joyce.-&nbsp;Part I The Origins of Domestic Noir .-&nbsp;2 The Literary Antecedents of Domestic Noir&nbsp;Fiona Peters.-&nbsp;3 Hollywood and the Trailblazers of Domestic Noir:</div><div>The Case of Vera Caspary’s Laura (1943)&nbsp;Stefania Ciocia.-&nbsp;Part II The Influences of Gillian Flynn’s Gone Girl .-&nbsp;4 Gone Genre: How The Academy Came Running&nbsp;And Discovered Nothing Was As It Seemed&nbsp;Henry Sutton.-&nbsp;5 From Cool Girl to Dead Girl: Gone Girl and the Allure&nbsp;of Female Victimhood&nbsp;</div><div>Eva Burke.-&nbsp;Part III Gendered, Sexual, and Intimate Violence in Domestic</div><div>Noir .-&nbsp;6 “How Much Do You Want to Pay for This Beauty?”&nbsp;Domestic Noir and the Active Turn in Feminist Crime&nbsp;Fiction &nbsp;Emma V. Miller.-&nbsp;7 Teenage Kicks: Performance and Postfeminism</div><div>in Domestic Noir &nbsp;Leigh Redhead.-&nbsp;8 The Violent Mother in Fact and Fiction&nbsp;Nicoletta Di Ciolla and Anna Pasolini.-&nbsp;Part IV Home as a Site of Violence .-&nbsp;9 “[T]he People that Should Have Lived Here”: Haunting,the Economy, and Home in Tana French’s Broken&nbsp;Harbour&nbsp;Shelley Ingram and Willow G. Mullins.-&nbsp;10 The Subversion of the Male Tradition in Crime Fiction:&nbsp;Liane Moriarty’s Little Lies&nbsp;</div><div>Elena Avanzas Álvarez.-&nbsp;11 Domestic Noir and the US Cozy as Responses</div><div>to the Threatened Home&nbsp;Diane Waters and Heather Worthington.-&nbsp;12 The House and the Hallucination in Tana French’s New&nbsp;Irish Gothic&nbsp;Rosemary Erickson Johnsen</div><div>13 Crime, the Domestic, and Social Commentary in Pierre&nbsp;Lemaitre’s Thriller&nbsp;Andrea Hynynen.-&nbsp;14 Carmen’s Final Problem: Contesting Crime Fiction&nbsp;and Gender Roles in Marcela Serrano’s Nuestra Señora de&nbsp;la Soledad&nbsp;Patricia Catoira</div>