Desperately looking for the truth: The traps and trappings of crime fiction in Charles Palliser’s The Unburied by Catherine Mari

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Twists and Turns in Crime Fiction—Peter Lovesey’s “Youdunnit” and Max Dorra’s “Thou shalt kill” by François Gallix

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Rhyme or Reason: Three Patterns of Poetic Interference in the British Crime Novel by Camille Fort-Cantoni

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From Chicago to Hollywood: the Metamorphosis of V.I. Warshawski by Nicole Décuré

Subjects: “…crime fiction…”
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Wallander's Dark Geopolitics by Stougaard-Nielsen Jakob

“…A current fault line in the study of crime fiction as a transnational genre is to what extent crime novels offer readers genuine cosmopolitan windows onto other worlds and cultures or whether it simply is bound to reproduce trite imagologies and national stereotypes. …”
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Nordic Noir from Within and Beyond by Hansen Kim Toft

“…The three largest contemporary commercial players on the Nordic market – Viaplay, HBO, and Netflix – have been able to, in very different ways, tap into the ideology of banal Nordism and the geopolitical unity of the Nordic region, and they have done so by producing and acquiring content that has deep associations with one of the Nordic region's main international brands: Scandinavian crime fiction and Nordic Noir.…”
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Le détournement du genre policier sur la scène anglaise contemporaine : One Minute (2003) de Simon Stephens et Orphans (2009) de Dennis Kelly by Aloysia Rousseau

“…The whodunit is the only recurring expression in common critical vocabulary used to refer to the transposition of crime fiction to the stage, an obsolete expression which is obviously not a satisfying one when applied to contemporary detective plays such as Simon Stephens’ One Minute (2003) and Dennis Kelly’s Orphans (2009). …”
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Zofia Szczupaczyńska wobec wyzwań swoich czasów. Uwagi na marginesie lektury cyklu „krakowskich kryminałów” Maryli Szymiczkowej [właśc. Jacek Dehnel i Piotr Tarczyński] by Adam Mazurkiewicz

“…Among them, there were also considerations that situated the tetralogy against the backdrop of contemporary transformations of the ‘crime and punishment’ story (whether the cycle itself can be considered as representative to crime fiction is a separate issue). Most often, however, the stories about the adventures of the protagonist of the series, Zofia Szczupaczyńska, are situated in the context of nostalgic literature and games taken up by Szymiczkowa. …”
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Une histoire oubliée : la genèse française du terme « film noir » dans les années 1930 et ses implications transnationales by Thomas Pillard

“…According to the established historiography, the generic label “film noir” was used in France in 1946 to refer to a series of Hollywood crime fictions produced in the 1940s and 1950s. Since then, the term has been exclusively associated with Hollywood pictures and “film noir” has been considered a specifically American form. …”
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