![]() ![]() Quarterly Review of Film and Video, 28(5), 390–400. Our serial killers, our superheroes, and ourselves: Showtime’s Dexter. Serial killers: Death and life in America’s Wound Culture. Natural BORN CELEBRITIES: Serial killers in American culture. Celebrity culture and crime: The joy of transgression. The profession of violence: The rise and fall of the Kray Twins. The rise of true crime: 20th century murder and American popular culture. When women kill: Questions of agency and subjectivity. Chopper: From the inside: Discourses of the ‘celebrity’ criminal Mark Brandon Read. Killing for company: The case of Dennis Nilsen. British Journal of Criminology, 55, 514–533. Capote’s ghosts: Violence, murder and the spectre of suspicion. ![]() Using murder: The social construction of serial homicide. American, British and Canadian Studies, 24, 24–43. Serial murders and their victims (6th ed.). The transgressive appeal of the comedy murder podcast. Canadian Review of American Studies, 41(1), 115–122. ‘Times like these I wish there was a real Dexter’: Unpacking serial killer ideologies and metaphors from TV’s Dexter Internet Forum. Murder, she spoke: The female voice’s ethics evocation and spatialisation in the true crime podcast. Mad Frank’s Diary: The confessions of Britain’s most notorious villain. London: Little Brown and Company.įraser, F. The subject of murder: Gender, exceptionality and the modern killer. The Journal of Popular Culture, 45(1), 15–26.ĭowning, L. The New American Hero: Dexter, serial killer for the masses. Serial killers and the media: The Moors murders legacy. The Guardian.Ĭummins, I., Foley, M., & King, M. Why Women are Hooked on Violent Crime Fiction. Men, women and chainsaws: Gender in the modern horror film. Women and death in television news: Dead but not gone. In cold blood: An account of a multiple murder and its consequences. Hannibal: Farewell to the Best Bloody Show on TV. Communication and Critical/Cultural Studies, 14(3), 254–270.Ĭain, S. Giving voice to the accused: Serial and the critical potential of true crime. Making a genre: The case of the contemporary true crime documentary. New York: New York University Press.īruzzi, S. Criminology goes to the movies: Crime, theory and popular culture. Buckingham: Open University Press.īrown, M., & Rafter, N. Dystopian romance: True crime and the female reader. New York: William Morrow Paperbacks.īrowder, L. Dead girls: Essays on surviving an American obsession. Frankie Fraser: We just can’t seem to stop ourselves falling for these old villains. Crime, fear and the law in trial crime stories, Palgrave Macmillan.īlacker, T. ‘We Learn Nothing from Ian Brady, We’re Just Fetishising Him.’ The Guardian.īiressi, A. True crime: Five reasons women love it, N.D. With this in mind, the chapter interrogates the figure of the gangster, often connected to organised crime, who arguably represents a more compelling, attractive and accepted figure within the cultural imaginary, and is further evidence of the ambivalent place of violence and masculinity within popular culture.īBC.co.uk. It is argued that not only does this preclude consideration of male audiences of true crime, but it also ignores other types of violent masculine subject. Moreover, the chapter acknowledges the role of true crime in perpetuating a particular idea of the serial killer, which in turn shapes assumptions that true crime is mainly concerned with macabre murders committed by psychopathic killers and is mainly watched, read and listened to by women. ![]() The discussion also acknowledges variations on this theme, maintaining that while the serial killer almost always retains an element of the spectacular, degrees of attraction, captivation and so forth, do vary in how such figures are constructed and responded to. It examines examples from across fact and fiction which have established and perpetuated the serial killer as cultural mainstay, and which evidence our enduring fascination with troubled violent subjects. The following chapter explores the figure of the serial killer as a spectacular and compelling figure within popular culture. ![]()
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