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Copyright date from verso of t.p. ; A flash in the night -- The mint mystery -- The Ypiranga case -- The clue on shelf 45 -- Phyllis Dodge, smuggler extraordinary -- A matter of record -- The secret still -- The taxicab tangle -- A match for the government -- The girl at the switchboard -- Lost--$100,000 -- The double code -- The trail of the white mice -- Wah Lee and the flower of heaven -- The man with three wives -- After seven years -- The poison-pen puzzle -- Thirty-thousand yards of silk -- The clue in the classified column -- In the shadow of the capitol -- A million-dollar quarter -- "The looting of the C.T.C." -- The case of Mrs. Armitage -- Five inches of death. ; Mode of access: Internet.

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This third article examines such genres of cinema as war films, detectives and comedies the latest in the line of Arctic films. Thereby we draw a line under Arctic films, that have not received due attention from film critics and the public until now. The need to return to the past to take a fresh look at the solar, including its storyboard, taking into account the deep rethinking of the war and the direct depiction of what was experienced, to show a truthful and accurate image of the war on the example of the fate of one or many of its participants. Cinematographers constantly return to the theme of the war, its individual episodes, the people who took part in it, who noted their heroism in it, its new reading caused by changing socio-political views and access to previously censored circumstances, what is now called «trench truth».«Another war» in pleacetime was reflected in the Arctic detectives. The enemy appears in them as criminal elements, sometimes was sophisticated and insidious plans, which in the conditions of the north require a special approach to solve then. Comedies have no geographical boundaries. Humor and laughter in the snow and ice is special, very often associated with the behavior of animals, especially dogs.

This paper studies Victor Juan Guillot's detective stories, hitherto, completely ignored by the literary criticism and the historiography of the detective genre in Argentina. We assert that in these stories it is possible to see the transition from a detective story piece of narrative —which was clearly predominant from late 1870s to 1930s, having melodramatic features and close links with the political and social reality— into a new kind of tale much closer to the English detective story of the Golden Age, and further from empirical national life. In Argentina, this new type of detective chronicle would unfold vigorously during the 1930s and the 1940s. Thus, we attempt to show that the detective stories included in Historias sin importancia (1920) and El alma en el pozo (1925) are in the same line with the early tradition of the genre in Argentina, while the stories included in Terror: cuentos de crimen y misterio (circa 1935) have mostly the same features as those of the 1930s. We also seek to put on view how Guillot's conception of the detective story in 1925 anticipated Jorge Luis Borges's conception of the genre in the 30s. Keywords: Víctor Guillot; Detective Novel; 20th Century; Argentine Literature; Jorge Luis Borges ; Los relatos policiales de Víctor Juan Guillot han sido hasta aquí completamente ignorados por la crítica literaria y la historiografía del género policial en la Argentina. Sostenemos que en estos relatos de Guillot puede advertirse el pasaje desde un modelo de relato policial –aquel que sería el fundamental desde fines de la década de 1870 hasta aproximadamente 1930, con claros aspectos folletinescos y vínculos estrechos con la realidad política y social– hacia una narración detectivesca más cercana al modelo de la Edad de Oro del policial en lengua inglesa y más alejado de la vida empírica nacional. Este último tipo de policial se desarrollará con vigor durante las décadas de 1930 y 1940. En este sentido, mostramos en qué medida los relatos policiales de los libros Historias sin importancia (1920) y El alma en el pozo (1925) consuenan con la tradición temprana del género en la Argentina, mientras que los cuentos incluidos en Terror: cuentos rojos y negros (circa 1935) se hallan en sintonía con los policiales de la década de 1930. Asimismo, exhibimos de qué manera las concepciones de Guillot –expresadas en la poética de sus relatos y también en reflexiones sobre la novela policial– anticipan ya desde 1925 las ideas de Jorge Luis Borges sobre lo policial durante los años 30. Palabras clave: Víctor Guillot; Novela policial; Literatura argentina; siglo XX; Jorge Luis Borges