Le Faucon maltais et L’Introuvable de Dashiell Hammett ont été portés avec succès au cinéma, faisant apparaître le personnage typiquement américain du détective privé avec les figures de Sam Spade et de Nick Charles.La dernière incarnation de Sam Spade, sous les traits de Humphrey Bogart dans le film de John Huston, en 1941, demeure l’une des figures les plus célèbres du film noir. Nick Charles, sous les traits de William Powell dans le film de Woody S. Van Dyke, en 1934, fut si populaire que l’acteur et le personnage, échappant à son auteur, furent exploités dans une suite de cinq films. Pourquoi le public français ne connaît-il guère que les premiers (personnage et acteur) et méconnaît-il les seconds ?Quelle place dans cette concurrence tient la figure de Dashiell Hammett, détective puis écrivain, devenu un personnage d’écrivain-détective dans Hammett, un film de Wim Wenders en 1982 ?L’examen de toutes les adaptations des romans de l’auteur, de 1931 à 1942, permet de comparer les diverses représentations de ses figures littéraires d’enquêteur. Celui des cinq films qui, de 1934 à 1947, ont repris le personnage de Nick Charles, montre la difficulté à conserver une cohérence au personnage.L’observation du changement du goût du public, de la Grande Dépression à l’après-Seconde Guerre Mondiale, et celle de l’évolution de la carrière d’Humphrey Bogart et de William Powell, permet de comprendre pourquoi le public français, si attaché à la notion de film noir, n’a retenu que le premier. Enfin, la constatation de l’intérêt éditorial, renouvelé en France au début du vingt-et-unième siècle, pour toute l’œuvre et la vie de Dashiell Hammett, conduit à considérer, temporairement peut-être, la figure de l’auteur comme un mythe moderne. / The Maltese Falcon and The Thin Man by Dashiell Hammett, adapted successfully to the screen, revealed the typically American character of the private detective, with Sam Spade and Nick Charles.The last incarnation of Sam Spade by Humphrey Bogart in 1941 John Huston’s movie remains one of the most famous film noir figures. Nick Charles, with William Powell in Woody S. Van Dyke’s film in 1934, was so popular that both the character, escaping his creator, and the actor were reused in a succession of five films, until 1947.Why does the contemporary French public only know the first (character and actor) and why does it almost ignore the second ?Between them, what place does Dashiell Hammett hold, detective then writer, who became a character of detective writer in Hollywood Wim Wenders’s movie Hammett in 1982 ?The study of all Dashiell Hammett novels adaptations, from 1931 to 1942, enables to compare the various representations of his investigator characters. The study of the five movies reusing Nick Charles character allows to follow its lack of coherence.The observation of the change of the public taste, from the Great Depression until the post- Second World War years and the examination of the cinematographic careers of the two actors, explain the Bogart’s fame in France.Eventually, the French editorial revival of Dashiell Hammett at the beginning of the 21st century makes it possible to consider the author figure as a new myth.

This thesis challenges the traditional view of the 'femme fatale' as merely a dangerous and ravenous sexual predator who leads men into ruination. Critical, especially feminist, scholarship mostly regards the femme fatale as a sexist construction of a male fantasy and treats her as an expression of misogyny that ultimately serves to reaffirm male authority. But this thesis proposes alternative ways of viewing the femme fatale by showing how she can also serve as a figure for imagining female agency. As such, I focus on a particular character type that is distinct from the general archetype of the femme fatale because of the greater degree of agency she demonstrates. This 'criminal femme fatale' uses her sexual appeal and irresistible wiles both to manipulate men and to commit criminal acts, usually murder, in order to advance her goals with deliberate intent and full culpability. This thesis reveals and explains the agency of the criminal femme fatales in American Hardboiled crime fiction between the late 1920s and the end of World War II in the works of three authors: Dashiell Hammett, Raymond Chandler and James M. Cain. The criminal femme fatales in the narratives of these authors show a subversive power and an ability to act - even though, or perhaps only if, this action is a criminal one. I show that these criminal femme fatales exhibit agency through their efforts to challenge not only the 'masculine' genre and the criminal space that this genre represents, but also to undercut the male protagonist's role and prove his failure in asserting control and dominance. Hammett's narratives provide good examples of how the criminal femme fatales function on a par with male gangsters in an underworld of crime and corruption. Chandler's work demonstrates a different case of absent/present criminal women who are set against the detective and ultimately question his power and mastery. Cain's narratives show the agency of the criminal femme fatales in the convergence between their ambition for social mobility and their sexual power over the male characters. To explain how these female characters exhibit agency, I situate this body of literature alongside contemporaneous legal and medical discourses on female criminality. I argue that the literary female criminal is a fundamentally different portrayal because she breaks the 'mad-bad' woman dichotomy that dominates both legal and medical discourses on female criminality. I show that the criminal femme fatales' negotiations of female agency within hardboiled crime fiction fluctuate and shift between the two poles of the criminalized and the medicalized women. These criminal femme fatales exhibit culpability in their actions that bring them into an encounter with the criminal justice system and resist being pathologized as women who suffer from a psychological ailment that affect their control. The thesis concludes that the ways in which the criminal femme fatales trouble normative socio-cultural conceptions relating to docile femininity and passive sexuality, not only destabilize the totality and fixity of the stereotype of the femme fatale in hardboiled crime fiction, but also open up broader debates about the representation of women in popular culture and the intersections between genre and gender.

Dashiell Hammett's The Maltese Falcon and Red Harvest are examples of iconic hard-boiled detective literature that reflect on the anxieties and tensions of the 1930s-1940s. With the Great Depression looming over these decades, the genre uses the hard-boiled detective as a way to communicate with and understand this time period. In our analysis of game theory, we look at how Dashiell Hammett's characters make decisions based on the actions of other players in the game, illustrating the influences of bargaining power and manipulation. With characters that oftentimes find themselves in situations where they must collude to reach maximum utility, the novels explore the various ways in which one player takes advantage of another, almost always leading towards the detective's best payoff. Game theory provides us with a unique method to looking at literature, hard-boiled fiction particularly, as a reflection of the historical period of its conception and prime.

Syftet med den här uppsatsen är att genomföra en jämförande studie av den klassiska Hollywood-deckaren, representerad av de tre första filmerna i Thin Man-serien, och film noir. Analysen utgår ifrån Thin Man-filmerna The Thin Man (1934), After the Thin Man (1936) och Another Thin Man (1939) och noir filmerna The Maltese Falcon (1941), Laura (1944), The Big Sleep (1946) och Dark Passage (1947). Den grundläggande teorin för uppsatsen är genreteori och hur den klassiska Hollywood-deckarfilmen skilde sig ifrån film noir. Analysen är uppdelad i fyra kapitel, i vilka olika delar av innehållet i både Thin Man-filmerna och de fyra exemplen av film noir analyseras. De olika kapitlen handlar om manliga huvudkaraktären, den kvinnliga huvudkaraktären, hur de olika filmerna hanterade ämnen berörande sex och sexualitet och hur samhället och människorna representeras i filmerna. Slutsats omfattar sedan en diskussion om uppsatsens resultat och svaret på varför Thin Man-filmerna inte räknas som film noir.

Lesbian Detective Fiction: the outsider within is a creative writing thesis in two parts: a draft lesbian detective novel, titled Fatal Development (75%) and an exegesis containing a critical appraisal of the sub-genre of lesbian detective fiction, and of my own writing process (25%). Creative work: Fatal Development -- It wasn’t the first time I’d seen a dead body, but it didn’t seem to get any easier. -- When Dirk and Stacey discover a body in the courtyard of their Brisbane woolstore apartment, it is close friend and neighbour, Kersten Heller, they turn to for support. The police assume Stuart’s death was an accident, but when it emerges that he was about to take legal action against the woolstore’s developers, Bovine, Kersten decides there must be more to it. Her own apartment has flooded twice in a month and the builders are still in and out repairing defects. She discovers Stuart was not alone on the roof when he fell to his death and the evidence he had collected for his case against Bovine has gone missing. Armed with this knowledge, and fed up with the developer’s ongoing resistance to addressing the building’s structural issues, Kersten organises a class action against Bovine. Kersten draws on her past training as a spy to investigate Stuart’s death, hiding her activities, and details of her past, from her partner, Toni. Her actions bring her under increasing threat as her apartment is defaced, searched and bugged, and she is involved in a car chase across New Farm. Forced to fall back on old skills, old habits and memories return to the surface. When Toni discovers that Kersten has broken her promise to leave the investigation to the police, she walks out. The neighbouring – and heritage-listed – Riverside Coal development site burns to the ground, and Kersten and Dirk uncover evidence of a network of corruption involving developers and local government officials. After she is kidnapped in broad daylight, narrowly escaping from the boot of a moving car, Kersten is confident she is right, but with Toni not returning her calls, and many of the other residents selling up, including Dirk and Stacey, Kersten begins to question her judgment. In a desperate attempt to turn things around, Kersten calls on an old Agency contact to help prove Bovine was involved in Stuart’s death, her kidnapping, and ongoing corruption. To get the evidence she needs, Kersten plays a dangerous game: letting Bovine know she has uncovered their illegal operations in order to draw them into revealing themselves on tape. Hiding alone in a hotel room, Kersten is finally forced to confront her past: When Mirin didn’t come home that night, I was ready to go out and find her myself, disappear, and start a new life together somewhere far away. Instead they pulled me in before I could finish making arrangements, questioned me for hours, turned everything around. It was golden child to problem child in the space of a day. This time, she’s determined, things will turn out differently. Exegesis: The exegesis traces the development of lesbian detective fiction, including its dual origins in detective and lesbian fiction, to compare the current state of the sub-genre with the early texts and to establish the dominant themes and tropes. I focus particularly on Australian examples of the sub-genre, examining in detail Claire McNab’s Denise Cleever series and Jan McKemmish’s A Gap in the Records, in order to position my own lesbian detective novel between these two works. In drafting Fatal Development, I have attempted to include some of the political content and complexity of McKemmish’s work, but with a plot-driven narrative. I examine the dominant tropes and conventions of the sub-genre, such as: lesbian politics; the nature of the crime; method of investigation; sex and romance; and setting. In the final section, I explain the ways in which I have worked within and against the subgenre’s conventions in drafting a contemporary lesbian detective novel: drawing on tradition and subverting reader expectations. Throughout the thesis, I explore in detail the tradition of the fictional lesbian detective as an outsider on the margins of society, disrupting notions of power and gender. While the lesbian detective’s outsider status grants her moral agency and the capacity to achieve justice and generate change, she is never fully accepted. The lesbian detective remains an outsider within. For the lesbian detective, working within a system that ultimately discriminates against her involves conflict and compromise, and a sense of double-play in being part of two worlds but belonging to neither. I explore how this double-consciousness can be applied to the lesbian writer in choosing whether to write for a mainstream or lesbian audience.