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This book will look at how the growth of Agatha Christie adaptations have grown increasingly darker. Of key relevance to this study is the work of Sarah Phelps, whose Witness for the Prosecution, And Then There Were None, Ordeal by Innocence, The ABC Murders and The Pale Horse all are darker than their precedents.
Stuart is a senior lecturer in Screen Studies at the University of South Australia. His first monograph, The Queer Film Festival: Popcorn and Politics, is published as part of Palgrave Macmillan's 'Framing Film Festivals' series, which looks at the queer film festival as a social enterprise and its growth in the creative industries. His research has been published in journals, such as Senses of Cinema, New Review of Film and Television, Media International Australia and Studies in Australasian Cinema. He is an associate director of the Creative People, Products and Places (CP3) Research Centre.
Introduction: Dark Moods and Deadly Puzzles, Chapter 1: And Then There Were None and Fantastic Horror, Chapter 2: Ordeal by Innocence and The Uncanny, Chapter 3: The Pale Horse and Folk Horror, Chapter 4: The Detective's Psyche in Witness for the Prosecution and The ABC Murders, Conclusion: Agnus Dei
