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Francis M. Nevins Jr.

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Francis M. Nevins Jr.


Born
in The United States
January 01, 1943

Genre


Francis Michael Nevins, Jr. aka Francis M. Nevins, Jr.

Francis Nevins’ areas of expertise straddle the worlds of fact and fiction.

When he created the seminar on “Law, Lawyers and Justice in Popular Fiction and Film” in 1979, it was considered a novel idea. Today, similar seminars and courses commonly are offered in law schools throughout the United States and abroad. If there is a conference on law and film almost anywhere in the world, chances are good that Professor Nevins will be invited as a guest speaker. His paper, “When Celluloid Lawyers Started to Speak: Exploring Juriscinema’s First Golden Age,” presented in 2003 at a University College colloquium in London, is scheduled to appear in a book of essays on law and popular culture publi
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Average rating: 3.9 · 730 ratings · 107 reviews · 63 distinct worksSimilar authors
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Hitchcock in Prime Time: 20...

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3.75 avg rating — 12 ratings — published 1985 — 3 editions
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Publish and Perish (Loren M...

liked it 3.00 avg rating — 12 ratings — published 1975 — 5 editions
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Royal Bloodline; Ellery Que...

4.13 avg rating — 8 ratings — published 1973 — 3 editions
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4.43 avg rating — 7 ratings — published 2009 — 3 editions
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The Sound of Detection: Ell...

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4.50 avg rating — 4 ratings — published 1983 — 5 editions
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Into the Same River Twice

2.20 avg rating — 5 ratings — published 1996 — 2 editions
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The 120 Hour Clock

3.33 avg rating — 3 ratings — published 1986 — 3 editions
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Films of Hopalong Cassidy

liked it 3.00 avg rating — 3 ratings — published 1988 — 3 editions
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More books by Francis M. Nevins Jr.…
Publish and Perish Corrupt and Ensnare Into the Same River Twice Beneficiaries' Requiem
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2.80 avg rating — 20 ratings

The 120 Hour Clock The Ninety Million Dollar M...
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Quotes by Francis M. Nevins Jr.  (?)
Quotes are added by the Goodreads community and are not verified by Goodreads. (Learn more)

“The viewpoint character in each story is usually someone trapped in a living nightmare, but this doesn't guarantee that we and the protagonist are at one. In fact Woolrich often makes us pull away from the person at the center of the storm, splitting our reaction in two, stripping his protagonist of moral authority, denying us the luxury of unequivocal identification, drawing characters so psychologically warped and sometimes so despicable that a part of us wants to see them suffer. Woolrich also denies us the luxury of total disidentification with all sorts of sociopaths, especially those who wear badges. His Noir Cop tales are crammed with acts of police sadism, casually committed or at least endorsed by the detective protagonist. These monstrosities are explicitly condemned almost never and the moral outrage we feel has no internal support in the stories except the objective horror of what is shown, so that one might almost believe that a part of Woolrich wants us to enjoy the spectacles. If so, it's yet another instance of how his most powerful novels and stories are divided against themselves so as to evoke in us a divided response that mirrors his own self-division.

("Introduction")”
Francis M. Nevins, Night and Fear: A Centenary Collection of Stories by Cornell Woolrich

“But suspense presupposes uncertainty. No matter how nightmarish the situation, real suspense is impossible when we know in advance that the protagonist will prevail (as we would if Woolrich had used series characters) or will be destroyed. This is why, despite his congenital pessimism, Woolrich manages any number of times to squeeze out an upbeat resolution. Precisely because we can never know whether a particular novel or story will be light or dark, allegre or noir, his work remains hauntingly suspenseful.

("Introduction")”
Francis M. Nevins, Night and Fear: A Centenary Collection of Stories by Cornell Woolrich

“His most characteristic detective stories end with the realization that no rational account of events is possible, and his suspense stories tend to close with terror not dissipated but omnipresent, like God.
("Introduction")”
Francis M. Nevins, Darkness At Dawn



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