Free PDF Psycho Paths: Tracking the Serial Killer Through Contemporary American Film and Fiction, by Philip L. Simpson
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Psycho Paths: Tracking the Serial Killer Through Contemporary American Film and Fiction, by Philip L. Simpson
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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.
- Sales Rank: #2152092 in Books
- Brand: Brand: Southern Illinois University Press
- Published on: 2000-10-21
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x .70" w x 6.00" l, .88 pounds
- Binding: Paperback
- 264 pages
- Used Book in Good Condition
Review
"Simpson provides us with an original discussion of a variety of serial killers texts, and a close examination of their functions within the genre.”—Richard Tithecott, author of Of Men and Monsters: Jeffrey Dahmer and the Construction of the Serial Killer
“Tracking the best known U.S. serial killer novels and films of the 1970s, ‘80s, and ‘90s, Simpson places the genre in the long Gothic tradition but focuses on the qualities associated with serial killers. He finds that serial killer narratives reflect some of the movements of those decades in the culture: feminism, the romance genre, and the new right. In this world, the malevolent lurks in the everyday. . . . The best introduction for the scholar beginning study of this narrow genre. . .” —Choice
About the Author
Philip L. Simpson is an assistant professor of communications and humanities at the Palm Bay campus of Brevard Community College, Palm Bay Florida.
Most helpful customer reviews
3 of 3 people found the following review helpful.
The slow path
By Kaeli Vandertulip
The author's main premise in this book is that serial killer novels and movies are the new Gothic novels. In essence, Gothic novels exemplified the hidden and dark side-the unnatural doubles of ourselves. This used to be represented by vampires and ghosts. Now, it is serial killers. The victims-the protagonists who really do just bore us-are really only in the novel to provide a contrast to the unnatural ones. Because there is also a large amount of analysis of the victim, this book is as much a feminist deconstruction of many psycho movies as it is an analysis of how we use the notion of psychopaths in our movies to fill that dark corner in our minds that used to be reserved for vampires.
Included in the deconstructions are reviews of how detectives are portrayed (i.e., the difference between the abilities of one man in Red Dragon and the entire FBI), doubles in movies (Casanova and the Gentleman Caller in Kiss the Girls (Alex Cross), Detective Somerset and John Doe in Seven (Single Disc Edition)), and the influence of gender in these movies and novels (The Silence of the Lambs (Hannibal Lector), Scarpetta (Kay Scarpetta), and myriad victims), and the Wilding of society (removing conscience or motive from crimes, such as American Psycho). Occasionally, parallels are made between real-life serial murderers and the fictional ones, but more often the real-life killers are fictionalized (such as Jack the Ripper).
Before starting this book, keep in mind, it is NOT a leisurely read; it is academic. And I must say, there were some incredibly dry parts to this book. It is very well cited for additional study and would make a great source for any kind of research on medial portrayals of serial killers.
As a side note, I think it's hilarious that the author drew the connection between Patrick Bateman in American Psycho and Batman (in 2000), seeing as Christian Bale played both.
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