By G. H. Ephron
Amnesia, G.H. Ephron's acclaimed debut, brought forensic neuropsychologist and specialist safety witness Dr. Peter Zak. Returning in habit, Peter is again within the thick of items on the Pearce Psychiatric middle, dealing with sufferers in addition to daily general administrative nightmares on the clinic, like budgetary issues, building, and colleagues' drug trials. after which the worst nightmare of all-the homicide of a colleague.
Such an occasion, if it weren't devastating sufficient, rekindles Peter's stories of the homicide of his spouse, which left Peter emotionally shattered and remoted; he's only in the near past started to emerge. yet he can't retreat this time; he needs to use his services to assist reconstruct this baffling and extremely own killing.
Peter discovers his pal and previous lover, Pearce psychiatrist Channing Temple, useless from a gunshot wound on health facility grounds. Her 16-year-old daughter Olivia is status over the physique, maintaining a gun. Did Olivia, who has been abusing Ritalin and different medications, kill her mom? Peter thinks now not, yet she is readily arraigned for homicide, and he has merely weeks to discover the killer sooner than Olivia is distributed to criminal. during this annoying and compelling moment installment in a hugely lauded sequence, the gifted writing crew often called G.H. Ephron tackles the risks and misconceptions surrounding addiction...and the chaos of homicide.
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Additional info for Addiction (Peter Zak, Book 2)
11. On this and other aspects of the noir protagonist, see R. A. in Hollywood’s Dark Cinema, 83–92. 12. Jeremy G. Butler, “Miami Vice: The Legacy of Film Noir,” in Silver and Ursini, Film Noir Reader, 289. 13. The relevant essays by Raymond Borde and Etienne Chaumeton, Robert Porfirio, and Jeremy G. Butler can be found in Silver and Ursini, Film Noir Reader, 17–25, 77–93, and 289–305, respectively. The quotes from Conard, Holt, and Sanders are taken from essays in Conard, The Philosophy of Film Noir, 1, 24–25, and 92, respectively.
We have already remarked about the effect on the film noir of the wave of Italian neo-realist films that flooded the American exhibition market in the late 1940s and early 1950s. ”9 Neo-realist films were generally shot on location and with available light; they addressed topical subjects, often focusing on the experiences of those in the lower orders; plots were simple, emphasizing everyday events and avoiding Dragnet, Film Noir, and Postwar Realism 43 both melodrama and spectacle; and unglamorous or nonprofessional actors were cast in featured roles, making an important connection between real and film worlds.
Not only did the two series run concurrently for three years; they were intimately connected, with the radio scripts providing most, if not all, of the material for subsequent televisual production and broadcast. Once Webb made the move to television, his decision to film episodes rather than broadcast them live ensured that Dragnet would, because of syndication, be a continuing presence for years afterward on the small screen. ”1 As critics remarked at the time, what made Dragnet distinctive, and popular, was its deep commitment to a form of realism that Webb borrowed, if in a substantially modified form, from the cinema, where, as a young actor, he had begun to make a name for himself in such hard-edged films as Fred Zinnemann’s The Men (1950), Billy Wilder’s Sunset Boulevard (1950), and 33 34 R.