True Crime: An Investigation into Women's Interest in Serial Killers

2007 ◽  
Author(s):  
Amanda M. Vicary ◽  
R. Chris Fraley
Keyword(s):  
Contexts ◽  
2018 ◽  
Vol 17 (2) ◽  
pp. 46-51 ◽  
Author(s):  
Jooyoung Lee ◽  
Sasha Reid

How do serial killers get away with murder? For years, law enforcement, true crime writers, and journalists have portrayed serial killers as criminal masterminds. But, a closer look at serial homicide cases reveals a different story: Serial killers are opportunists who target marginalized and vulnerable populations. Specifically, they target street sex workers, who become “easy prey” because of their precarious legal status.


Author(s):  
Phillip L. Simpson

Serial killing is an age-old problem, though it was not popularly known by that name until the 1980s. It took the rise of mass media and the mechanisms of mass production to create the conditions for the rise of serial murder in the modern world. The mass media representation of a series of murders arguably dates back to the notoriety accorded to the so-called Jack the Ripper killings of prostitutes in London in the autumn of 1888. The Ripper murders stand at a particular nexus in the representation of true crime, where fact and legend immediately fused in popular media to create a terrifying new modern, urban mythology of a preternaturally cunning human super-predator: one who strikes from the shadows to commit ghastly murder with impunity and then retreats back into that darkness until the next atrocity. Since the days of Jack the Ripper, a ghoulish pantheon of other serial killers has captivated the public imagination through representation in media: the Zodiac Killer, David Berkowitz, Ted Bundy, John Wayne Gacy Jr., Henry Lee Lucas, Richard Ramirez, and Jeffrey Dahmer, just to name a few. However, the term “serial killer” did not enter the American popular vocabulary until the 1980s, so in another sense, the true representation of what we now know as serial killing could not begin until it had this latest, proper name. In tandem, as cultural consciousness of serial murder expanded, fictional serial killers proliferated the media landscape: Patrick Bateman, Norman Bates, Francis Dolarhyde, Lou Ford, Jame Gumb, Mickey and Mallory Knox, Leatherface, Dr. Hannibal Lecter, Dexter Morgan, Tom Ripley, and a host of others. Serial killers as they exist in the popular imagination are media constructs rooted in sociological/criminological/psychological realities. These constructs originate from collective fears or anxieties specific to a particular time and place, which also means as times and the cultural zeitgeist change, the serial killer as a character epitomizing human evil is endlessly reinvented for new audiences in popular media.


2005 ◽  
Vol 30 (1) ◽  
pp. 71-79
Author(s):  
Serge Chazal

En l'espace de vingt ans, le tueur en série est devenu partie intégrante de l'imaginaire culturel américain. Les Charles Manson,Ted Bundy, William Gacy, Hannibal Lecter et autres ont rejoint de plus classiques figures emblématiques du Mal (Dracula, Frankenstein, Hitler ... ). L'article retrace la constitution dans la culture médiatique américaine des formes prises par cette fascination morbide pour les histoires de serial killers , cocktails de sexe, de violence et de mort. Presse , true crime books , paralittérature, bande dessinée, cinéma, télévision ont été les véhicules complaisants (et intéressés) de cette invasion qui devait atteindre son point culminant au milieu des années quatre-vingt-dix avec une multiplication de sites sur Internet. Un reflux semble toutefois s'amorce ravec la récente émergence d'une nouvelle vedette, les profilers, ces nouveaux chasseurs de monstres.


Author(s):  
Bernice M. Murphy

This chapter surveys selective twenty-first century serial killer narratives and outlines their most significant recurrent themes and tropes. The most notable twenty-first century trend considered here are the depiction of the serial killer as a sympathetic anti-hero, as in Jeff Lindsay’s Dexter novels and the TV series of the same name, the TV series Bates Motel (2013–) and the YA novel/film I Am Not a Serial Killer (2009/2016), all of which depict disturbed teenagers struggling to repress their seemingly innate bloodlust, and the pre-eminent serial killer TV show of the past decade, Hannibal (2013–15). This chapter also defines the popularity of serial killer narratives as a truly global phenomenon by examining ‘Nordic Noir’, the Korean films Memories of Murder (2003) and I Saw the Devil (2010) and the Hong Kong film Dream Home (2010). Finally, the chapter concludes by considering the representation of serial killing in post-2000 biopics and true crime narratives.


2018 ◽  
Vol 46 (4) ◽  
pp. 19
Author(s):  
Kaylee Osowski

The number of serial killers, those who have murdered three or more people at separate times in the United States,1 has declined from its peak 128 in 1987 to just 15 in 2015.2 But people’s fascination with them has not waned. The Netflix drama Mindhunter aired in October 2017 and gave true-crime fanatics a Hollywood view of the early days of the Federal Bureau of Investigation’s (FBI) work on criminal profiling and its involvement with local law enforcement agencies on investigations.


PsycCRITIQUES ◽  
2006 ◽  
Vol 51 (13) ◽  
Author(s):  
Judith V. Becker ◽  
Laura G. Kirsch

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