Serial Killers In Contemporary Television

This volume examines the significant increase in representations of serial killers as central characters in popular television over the last two decades. Via critical analyses of the philosophical and existential themes presented to viewers and their place in the cultural landscape of contemporary America, the authors ask: What is it about serial killers that incited such a boom in these types of narratives in popular television post-9/11? Looking past the serial format of television programming as uniquely suited for the presentation of the serial killer’s actions, the chapters delve into deeper reasons as to why TV has proven to be such a fertile ground for serial killer narratives in contemporary popular culture. An international team of authors question: What is it about serial killers that makes these characters deeply enlightening representations of the human condition that, although horrifically deviant, reflect complex elements of the human psyche? Why are serial killers intellectually fascinating to audiences? How do these characters so deeply affect us? Shedding new light on a contemporary phenomenon, this book will be a fascinating read for all those at the intersection of television studies, film studies, psychology, popular culture, media studies, philosophy, genre studies, and horror studies.

Philip L. Simpson provides an original and broad overview of the evolving serial killer genre in the two media most responsible for its popularity: literature and cinema of the 1980s and 1990s. The fictional serial killer, with a motiveless, highly individualized modus operandi, is the latest manifestation of the multiple murderers and homicidal maniacs that haunt American literature and, particularly, visual media such as cinema and television. Simpson theorizes that the serial killer genre results from a combination of earlier genre depictions of multiple murderers, inherited Gothic storytelling conventions, and threatening folkloric figures reworked over the years into a contemporary mythology of violence. Updated and repackaged for mass consumption, the Gothic villains, the monsters, the vampires, and the werewolves of the past have evolved into the fictional serial killer, who clearly reflects American cultural anxieties at the start of the twenty-first century. Citing numerous sources, Simpson argues that serial killers' recent popularity as genre monsters owes much to their pliability to any number of authorial ideological agendas from both the left and the right ends of the political spectrum. Serial killers in fiction are a kind of debased and traumatized visionary, whose murders privately and publicly re-empower them with a pseudo-divine aura in the contemporary political moment. The current fascination with serial killer narratives can thus be explained as the latest manifestation of the ongoing human fascination with tales of gruesome murders and mythic villains finding a receptive audience in a nation galvanized by the increasingly apocalyptic tension between the extremist philosophies of both the New Right and the anti-New Right. Faced with a blizzard of works of varying quality dealing with the serial killer, Simpson has ruled out the catalog approach in this study in favor of in-depth an analysis of the best American work in the genre. He has chosen novels and films that have at least some degree of public name-recognition or notoriety, including Red Dragon and The Silence of the Lambs by Thomas Harris, Manhunter directed by Michael Mann, Henry: Portrait of a Serial Killer directed by John McNaughton, Seven directed by David Fincher, Natural Born Killers directed by Oliver Stone, Zombie by Joyce Carol Oates, and American Psycho by Bret Easton Ellis.

Master's Thesis from the year 2009 in the subject Communications - Movies and Television, grade: A ("excellent"), Stockholm University (JMK - Department of Journalism, Media and Communication), language: English, abstract: In this study the television crime series Dexter is analysed in its significance to create a feeling of sympathy for a serial killer that is here exemplified by the analyses of the title character and protagonist Dexter Morgan. Deriving from this apparently contradictory presumption the main objective of the study is thereby to examine to what extent the conception of the series and its form of representation contribute to this alleged effect and which media devices can be considered for this purpose. As a starting point the theories of social constructionism and frame theory are to be analysed to show what we know and how we gain our knowledge about crime and criminals from the real life and those in fictional narratives. The achieved findings of current media frames of serial killers in fiction and non-fiction reveal that there are differences in the representation of serial killers in the mass media, but the tools which are used to establish those frames are comparable. Further, by reconciling these existing frames with the frame the series Dexter generates of a serial killer a range of variations are identifiable. The main finding is that the form of representation often violates genre expectations of the audience and also hitherto familiar frames of serial killers are questioned by the series' concept and challenges the viewer in some way in order to promote an effect of sympathy. Due to the quite innovative character of the series its investigation might provide new input in the field of media and film studies of television crime narratives. Key words: crime series, Dexter, serial killer, sympathy, social constructionism, frame theory, media frames

Serial murder is a global entertainment industry where the serial killer emerges as one of the most significant cultural figures of our time. No longer an exclusively Anglo-American phenomenon, narratives of serial killing are widespread in India, China, Japan, and other cultures. This book asks why this is the case, and how serial violence has been aestheticized in different contexts. It raises important questions regarding the ethics of spectatorship, complicity, and resistance. Unique in its transnational reach, it covers both novels and visual media, both West and East, both perpetrators and witnesses.

In the last decade, serial murder has become a source of major concern for law enforcement agencies, while the serial killer has attracted widespread interest as a villain in popular culture. There is no doubt, however, that popular fears and stereotypes have vastly exaggerated the actual scale of multiple homicide activity. In assessing the concern and the interest, Jenkins has produced an innovative synthesis of approaches to social problem construction. It includes an historical and social-scientific estimate of the objective scale of serial murder; a rhetorical analysis of the construction of the phenomenon in public debate; and a cultural studies-oriented analysis of the portrayal of serial murder in contemporary literature, film, and the mass media. Using Murder suggests that a problem of this sort can only be understood in the context of its political and rhetorical dimension; that fears of crime and violence are valuable for particular constituencies and interest groups, which put them to their own uses. In part, these agendas are bureaucratic, in the sense that exaggerated concern about the offense generates support for criminal justice agencies. But other forces are at work in the culture at large, where serial murder has become an invaluable rhetorical weapon in public debates over issues like gender, race, and sexual orientation. Serial murder is worthy of study not so much for its intrinsic significance, but rather for what it suggests about the concerns, needs, and fears of the society that has come to portray it as an “ultimate evil.” Using Murder is a highly original study of a powerful contemporary mythology by a criminologist and historian versed in the constructionist literature on the origins of “moral panics.”

This book explores the representation of real-life serial murders as adapted for the screen and popular culture. Bringing together a selection of essays from international scholars, Serial Killing on Screen: Adaptation, True Crime and Popular Culture examines the ways in which the screen has become a crucial site through which the most troubling of real-life crimes are represented, (re)constructed and made accessible to the public. Situated at the nexus of film and screen studies, theatre studies, cultural studies, criminology and sociology, this interdisciplinary collection raises questions about, and implications for, thinking about the adaptation and representation of true crime in popular culture, and the ideologies at stake in such narratives. It discusses the ways in which the adaptation of real-life serial murder intersects with other markers of cultural identity (gender, race, class, disability), as well as aspects of criminology (offenders, victims, policing, and profiling) and psychology (psychopathy, sociopathy, and paraphilia). This collection is unique in its combined focus on the adaptation of crimes committed by real-life criminal figures who have gained international notoriety for their plural offences, including, for example, Ted Bundy, Ian Brady and Myra Hindley, Aileen Wuornos, Jack the Ripper, and the Zodiac, and for situating the tales of these crimes and their victims’ stories within the field of adaptation studies.

After over twenty-five years interviewing the most dangerous contemporary serial killers, bestselling true crime author Christopher Berry-Dee explores the darkest corners of these thrill-killers’ minds in Talking with Serial Killers: The Sinister Study of Stalkers. As law-enforcement authorities, including the FBI’s elite Behavioral Science Unit, will confirm, the majority of sexual psychopaths gain most of their perverse thrills from the stalking of their unexpecting victims. The target has often been followed and watched for weeks or even months, and sometimes even visited before they are attacked. But the actual kill is frequently less satisfying than the pursuit, after which the murdered victim is usually abandoned or thrown away. Exhaustively studying the case histories of more than sixty modern-day sexually motivated serial murderers—some still alive, others subsequently executed—Berry-Dee zeroes in on the Internet porn industry as one of the main motivating drivers in cultivating fantasy stalking, which can lead to multiple rapes and homicides graduating to serial murder. Even more chilling, anyone who is active on social media has a higher potential to be a stalker’s next target.

The renowned criminologist and author of The Outsider delivers a penetrating study of serial killers as a uniquely modern phenomenon. In this fascinating study, Colin Wilson explores the roots of the serial killer mindset, and the origins of this terrifying modern personality. The term "serial killer" is still relatively new, coined by the FBI to describe those who murder repeatedly and obsessively, usually with a sexual motive. Who are these killers? What social and psychological pressures drive them to their crimes? Can we understand and learn to predict their behavior? Wilson offers revealing profiles of some of the most infamous killers in modern history: from Jack the Ripper to Jeffrey Dahmer, the monster of Milwaukee; Reginald Christie to Dennis Nilsen, who killed for company; the Boston Strangler to Donald Gaskins, who murdered more than 100 victims; as well as Richard Ramirez, the Night Stalker and many more.

Jeffrey Dahmer. Ted Bundy. John Wayne Gacy. Over the past thirty years, serial killers have become iconic figures in America, the subject of made-for-TV movies and mass-market paperbacks alike. But why do we find such luridly transgressive and horrific individuals so fascinating? What compels us to look more closely at these figures when we really want to look away? Natural Born Celebrities considers how serial killers have become lionized in American culture and explores the consequences of their fame. David Schmid provides a historical account of how serial killers became famous and how that fame has been used in popular media and the corridors of the FBI alike. Ranging from H. H. Holmes, whose killing spree during the 1893 Chicago World's Fair inspired The Devil in the White City, right up to Aileen Wuornos, the lesbian prostitute whose vicious murder of seven men would serve as the basis for the hit film Monster, Schmid unveils a new understanding of serial killers by emphasizing both the social dimensions of their crimes and their susceptibility to multiple interpretations and uses. He also explores why serial killers have become endemic in popular culture, from their depiction in The Silence of the Lambs and The X-Files to their becoming the stuff of trading cards and even Web sites where you can buy their hair and nail clippings. Bringing his fascinating history right up to the present, Schmid ultimately argues that America needs the perversely familiar figure of the serial killer now more than ever to manage the fear posed by Osama bin Laden since September 11. "This is a persuasively argued, meticulously researched, and compelling examination of the media phenomenon of the 'celebrity criminal' in American culture. It is highly readable as well."—Joyce Carol Oates

The 'serial killer' has become increasingly prevalent in popular culture since the term was coined by Robert Ressler at the FBI in the mid-1970s. Murders and Acqusitions explores the social and political implications of this cultural figure. The collection argues that the often blood-chilling representations of the serial killer and serial killing offered in TV series, films, novels and fan productions function to address contemporary concerns and preoccupations. Focusing on well-known popular culture texts, such as The Wire, Kiss the Girls, Monster, the Saw series, American Psycho, The Strangers, CSI and Dexter, this electic anthology engages with a broad spectrum of cultural theory and performs critical textual analysis to examine the sophisticated ways the serial killer is deployed to mediate and/or work through cultural anxieties and fears.