CLARICE & DR. LECTER Outside Lecter's Cell CLARICE

Total Page：16

File Type：pdf, Size：1020Kb

CLARICE & DR. LECTER Outside Lecter’s Cell CLARICE: Dr. Lecter, my name is Clarice Starling. May I speak with you? DR. LECTER: A census taker tried to test me once. I ate his-- CLARICE: --liver with some fava beans and a nice Chianti. (She makes sucking, slurping noise) Yes I know. DR. LECTER: Truth be told, it was an indifferent ’31 Beaujolais and a fluffy rice pilaf. You’re with Jack Crawford, aren’t you? May I see your credentials? She presents an ID. That’s an appointment card for a high colonic. I see you’ve chosen the large nozzle. Impressive. Clarice realizes her mistake and quickly pulls out her proper ID. DR. LECTER (CONT’D): Closer...closer...closer! Expiration: one week. You’re not real FBI, are you? CLARICE: I’m a student, shir. DR. LECTER: Jack Crawford sent a trainee to me? CLARICE: I’m here to learn from you. Perhaps you can decide if I’m qualified to do that. DR. LECTER: Well, well, well. That is rather slippery of you, Agent Starling. Please sit. CLARICE: I wonder Dr. Lecter, if perhaps you’re as good at filling out surveys, as you are at drawing? I have here... DR. LECTER: No, no, no Agent Starling! You were doing so well. Polite conversation, eye to eye contact, and then this. This clumsy segue-way to get me to fill out a survey. Boring. Tell me, what did Miggs say to you. Multiple Miggs in the next cell. He hissed at you. What did he say? CLARICE: He said, “I can smell your cunt.” DR. LECTER: I see. I myself cannot. You know what I see when I look at you? I see a little girl; a scared little girl in an asylum in Baltimore looking at me in a prison cell. She’s wearing a brown jacket and a white shirt. She’s also wearing pants and has a briefcase. Her eyes are blue, her hair: short and brown. Might even be a wig...and she works for Jack Crawford at the F.....B.....I.... CLARICE: You shee a lot doctor, but why don’t you point that high-powered perception at yourself? Why don’t you take a look in a mirror and tell me what you shee? Shcaredy cat. DR. LECTER: I know you are but what am I? .

Copy Link

Recommended publications

School of Teacher Training and Education Muhammadiyah University of Surakarta 2014
DUAL CONTRARY PERSONALITIES OF DR.HANNIBAL LECTER REFLECTED THE SILENCE OF THE LAMBS NOVEL (1988): A PSYCHOANALYTIC APPROACH RESEARCH PUBLICATION Submitted as a Partial Fulfillment of the Requirement for Getting Bachelor Degree of Education in English Department by: FACHRUR BROSNAN A 320 070 303 SCHOOL OF TEACHER TRAINING AND EDUCATION MUHAMMADIYAH UNIVERSITY OF SURAKARTA 2014 DUAL CONTRARY PERSONALITIES OF DR.HANNIBAL LECTER REFLECTED THE SILENCE OF THE LAMBS NOVEL (1988): A PSYCHOANALYTIC APPROACH FACHRUR BROSNAN A320070303 English Department, FKIP-UMS [email protected] Abstract The major problem in this study is to show person with dual contrary personality reflected Thomas Harris The Silence of the Lambs novel by using psychoanalytic approach. It is conducted by analyzing the movie based on its structural elements and based on psychoanalytic criticism. This research is qualitative research. Type of data of the study is text and image taken from two data sources: primary and secondary. The primary data source is The Silence of the Lambs novel written by Thomas Harris released in 1988. While the secondary data sources are taken from the books of literature, internet, and other relevant information. Both data are collected through library research and analyzed by descriptive analysis. Using a psychoanalytic criticism as the theoretical framework, the research shows the following findings. First, based on structural analysis of this novel, it is clear for the researcher to conclude that the literary elements of The Silence of the Lambs form a unity in which one element supports the others and the whole elements reflect the theme of the novel. Thomas Harris has proven by delivering a message through its theme that the unnatural obsession can cause negative ability in this novel.
[Show full text]
Cultural Analysis of Jonathan Demme's "The Silence of the Lambs"
University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1996 Cultural analysis of Jonathan Demme's "The Silence of the Lambs" Arthur S. Almquist The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Almquist, Arthur S., "Cultural analysis of Jonathan Demme's "The Silence of the Lambs"" (1996). Graduate Student Theses, Dissertations, & Professional Papers. 1952. https://scholarworks.umt.edu/etd/1952 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. Maureen and Mike " - MANSFIELD LIBRARY ' - The University of MONTANA Pennission is granted by the author to reproduce tliis material in its entirety, provided that this material is used for scholarly purposes and is properly cited in published works and reports. ** Please check "Yes" or "No" and provide signature ** Yes, I grant permission No, I do not grant permission Author's Signature Date ^ Any copying for commercial purposes or financial gain may be undertaken only with tlie author's explicit consent. A CULTURAL ANALYSIS OF JONATHAN DEMME'S THE SILENCE OF THE LAMBS by Arthur S. Almquist presented in partial fulfillment of the requirements for the degree of Master of Arts The University of Montana 1996 Approved by: Chairperson Dean, Graduate School 5- Date UMI Number; EP35166 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted.
[Show full text]
Journal of Religion & Film Hannibal
Journal of Religion & Film Volume 5 Issue 1 April 2001 Article 8 April 2001 Hannibal Artie Megibben [email protected] Follow this and additional works at: https://digitalcommons.unomaha.edu/jrf Recommended Citation Megibben, Artie (2001) "Hannibal," Journal of Religion & Film: Vol. 5 : Iss. 1 , Article 8. Available at: https://digitalcommons.unomaha.edu/jrf/vol5/iss1/8 This Film Review is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. Hannibal Abstract This is a review of Hannibal (2001). This film er view is available in Journal of Religion & Film: https://digitalcommons.unomaha.edu/jrf/vol5/iss1/8 Megibben: Hannibal Ever since the night Renfield met Dracula, moviegoers have had an appetite for blood-sucking villains with class. And not since Bela Lugosi has a villain had more style and class than Anthony Hopkins' Hannibal Lecter. He quotes the classics. He's a patron of the arts. And his fangs are as acquainted with Bulugar caviar as with the soft, supple flesh of his victims. Hopkin's Lecter does not so much snarl as purr - whispering seductive innuendoes set to opera music - an approach matched only by Eden's subtle Serpent. This is much the same technique used by visualist Ridley Scott (Gladiator, BladeRunner). Scott's use of style over substance (or should I say "suspense") make Hannibal an exquisite sight to behold. In place of the psychological thrill-ride of the Jonathan Demme-directed The Silence of the Lambs, Scott's lush cinematography gives us a painterly blow-by-blow account of Hannibal.
[Show full text]
The Fairy Godmother
© Copyright, Princeton University Press. No part of this book may be distributed, posted, or reproduced in any form by digital or mechanical means without prior written permission of the publisher. INTRODUCTION The Fairy Godmother “ADVANCEMENT, OF COURSE” Early in Thomas Harris’s novel Silence of the Lambs (1988), Dr. Hannibal Lecter, psychiatrist, serial killer, and cannibal, makes a proposal to Clarice Starling, FBI trainee, through the bars of his cell. “I’ll give you what you love most, Clarice Starling.” “What’s that, Dr. Lecter?” “Advancement, of course.”1 As usual, Lecter is right. Silence of the Lambs could be described in vari ous ways—as a Gothic horror story, a detective thriller, or an oblique argument for vegetarianism. But if what matters is what Starling wants most (which is also what she gets), then the novel should be classified as a story of advancement, a modern-day Cinderella fable. The fairy godmother of this Cinderella story is of course Lecter himself. Approached for advice in solving a fresh series of murders, he describes Starling to her face as “white trash,” then goes on to reward her for glimpses into her inner life by supplying riddlelike clues. Deciphering the clues, she will track down the killer, rescue the prospective victim, and finish her training in a blaze of professional glory. However diabolical his character may be, Lecter’s narrative function is thus indisputably benevo lent: he bestows on the virtuous but disadvantaged protagonist the magi cal help that makes possible her advancement. In the pages that follow, I will be working from the premise that a broad range of narratives, fictional and nonfictional, can be described more or less as Lecter describes Starling’s.
[Show full text]
The Silence of Clarice Starling: Exploring the Female Investigator Popular American Thrillers
The Silence of Clarice Starling: Exploring the Female Investigator Popular American Thrillers "MA Thesis Literatuur en Cultuurkritiek, Utrecht University.” Baan Al-Othmani - 3877132 Paul Franssen en Roselinde Supheert November 2015 0 Table of Contents Chapter One: Introduction 1 Chapter Two: Analyzing the Female Detective in Thrillers 5 Chapter Three: Becoming Acquainted with Clarice Starling 11 Chapter Four: Searching for Dr. Lecter 29 Chapter Five: Conclusion 48 Works Cited 53 Plagiaatverklaring 55 1 Chapter One: Introduction Thomas Harris‘s novels The Silence of the Lambs and Hannibal, the former published in 1988 and the latter in 1999, are two of the most well-known thrillers in American fiction; the antagonist of these novels, Hannibal Lecter, has become one of the most notorious characters in crime fiction.1 Nonetheless, Harris did not begin his career as a writer of American thrillers. After graduating in 1964, Harris worked as a crime reporter for a local newspaper and he also worked as an international crime reporter in Mexico (―Thomas Harris‖); the vivid descriptions of crimes in his novels are likely based on crimes in real life. Moreover, Harris‘s first novel, Black Sunday, was a best-seller, though it did not revolve around a specific criminal; in fact, it portrays a terrorist attack. The success of Black Sunday ensured the publication of his second novel in 1981, namely Red Dragon. In Red Dragon, veteran FBI officer Will Graham is ordered by his superior to cooperate with a criminal, who he has arrested before, namely Dr. Lecter. Together, they seek to find a serial killer called the Tooth Fairy.
[Show full text]
Hannibal Lecter," Enters It and Waits
H A N N I B A L Screenplay by Steven Zaillian Based on the Novel by Thomas Harris Revision February 9, 2000 INT. PANEL VAN - DAY Clarice Starling is dead, laid out in fatigues across a bench in the back of a ratty, rattling undercover van. Three other agents sit perched on the opposite bench, staring at her lifeless body. BURKE How can she sleep at a time like this? BRIGHAM She's on a jump-out squad all night; she's saving her strength. INT. UNDERGROUND GARAGE - DAY Gray cement walls blur past as the panel van descends a circular ramp to a lower level. As it straightens out, the view through the windshield reveals a gathering of men and vehicles - marked and unmarked DC police cars - and two black SWAT vans. The panel van - with Marcell's Crab House painted on its sides - pulls to a stop. The back doors open from the inside and Starling is the first one out - well-rested and alert - hoisting down her equipment bag. One of the DC policemen, the one whose girth and manner say he's in charge, watches the woman by the van slip into a Kevlar vest, drop a Colt .45 into a shoulder holster, and a .38 into an ankle holster. She straightens up, approaches the men and lays a street plan across the hood of one of their cars. STARLING All right, everyone, pay attention. Here's the layout - BOLTON Excuse me, I'm Officer Bolton, DC Police. STARLING Yes, I can see that from your uniform and badge, how do you do? BOLTON I'm in charge here.
[Show full text]
228 Hannibal, Seasons
The Irish Journal of Gothic and Horror Studies 16 (Autumn 2017) Hannibal, Seasons 1-3 (NBC, 2012-15) The TV series Hannibal was developed by Bryan Fuller and aired on NBC from April 2013 to August 2015. Unfortunately, the series was cancelled after Season 3 due to falling ratings, although it is now available on DVD and Netflix (and there are rumours that the show may be resurrected in the near future).1 Hannibal focuses on the character that first made his fictional debut in Thomas Harris’s Red Dragon (1981) and went on to appear in the novels The Silence of the Lambs (1988), Hannibal (1999), and Hannibal Rising (2006). Dr Hannibal Lecter then attained even wider fame via the novels’ five cinematic adaptations. Lecter (played here by Mads Mikkelsen) is a brilliant, elegant, and refined psychiatrist and an exceptional cook, with a gorgeous office and a polished, almost sterile house in Baltimore. The series functions as a prequel to the books and four of the films: Hannibal collaborates with the FBI in order to help capture serial killers, but he is himself a manipulative and sadistic murderer who cannibalises his victims’ organs. Hannibal is therefore a therapist who can dissect not only the minds of his patients and adversaries, but also the tissues of their very bodies.2 Each of the titles of almost every episode is the name of a dish, such as ‘Amuse Bouche’, ‘Mukozuke’, and ‘Antipasto’ (respectively in French, Japanese, and Italian). During the first two seasons, each episode largely consists of an investigation into the murders committed by a specific killer, although there are also a number of overarching storylines that span each season and portray the evolving relationships between the main characters.
[Show full text]
Female Characters in Psychological Horror
SLEZSKÁ UNIVERZITA V OPAVĚ Filozoficko-přírodověděcká fakulta v Opavě Veronika Hušková obor: Angličtina Female Characters in Psychological Horror Diplomová práce Vedoucí diplomové práce: Opava 2020 PhDr. Diana Adamová, Ph.D. Abstract This thesis deals with female characters in selected horror novels and their film adaptations from 1970 to 2019. Each chapter recounts the development of the horror genre in each decade and then highlights the selected novels in the decade’s context. The analytical part introduces the selected texts’ authors briefly and proceeds to analyze the female characters and their roles in the text, and how the filmmakers managed to translate the essence of these characters onto the big screen. The aim of this thesis is to provide a concise overview of the genre, categorize each female character and determine if and how did the portrayal of female characters change with time. Key words: horror, modern cinematography, American literature, British literature, Stephen King, Thomas Harris, Clive Barker, Jeff VanderMeer, female characters, Carrie, The Shining, Hellraiser, Misery, Silence of the Lambs, The Mist, It, Annihilation Abstrakt Tato práce se zabývá ženskými postavami ve vybraných hororových knihách a jejich filmových adaptacích od roku 1970 do roku 2019. Každá z kapitol nejdříve pojednává o vývoji hororového žánru v jednotlivých desetiletích a poté zasazuje vybraná díla do jejich kontextu. Analytická část nejprve krátce představuje autora knihy, dále se zaměřuje na analýzu ženských postav a jejich rolí v daném textu a jak se filmovým tvůrcům podařilo převést podstatu těchto postav na velké plátno. Cílem práce je poskytnutí stručného přehledu žánru, kategorizace jednotlivých ženských postav a určení toho, zda a jak se vyobrazení ženských postav vyvíjelo.
[Show full text]
Our Fascination with Horror Gina Lione-Napoli Professor George Schroepfer
111 Things That Go Bump in the Night: Our Fascination with Horror Gina Lione-Napoli Professor George Schroepfer Abstract: Watching a horror movie or a psychological thriller is an event in itself. Picture a rainy evening, camped out on the couch with a good friend and some popcorn, about to watch Jonathan Demme’s masterpiece: The Silence of the Lambs. Everything is going smoothly, with a few startling moments keeping you on the edge of your seat. Before you know it, the movie is over, and the friend has gone home. It’s not until late at night, when you’re alone, that you start to hear creaks in the floorboards and the hairs on the back of your neck stand up. Maybe watching the movie wasn’t such a good idea. Why we watch horror movies in the first place is an interesting phenomenon; it’s shocking that we would want to subject ourselves to such fear. However, we are drawn in by the morbid fascination that comes with psychologically thrilling movies. There is more than meets the eye when it comes to serial killers, and the ultimate example of that is The Silence of the Lambs. The viewer fears and yet at the same time hangs on the chilling words, “Hello, Clarice.” The horror film is our own worst nightmare—it is an exploration about punishment and damnation, and in each one of us, there is that fear and fascination. Yet, we keep coming back for more. The Silence of the Lambs opens with a young woman Clarice Starling, played by Jodie Foster, running and climbing through an obstacle course in the woods.
[Show full text]
Clarice Pilot "The Silence Is Over"
CLARICE PILOT "THE SILENCE IS OVER" Written by Jenny Lumet & Alex Kurtzman Based on the character Clarice Starling, created by Thomas Harris FIRST DRAFT - 1.14.20 MGM STUDIOS/CBS STUDIOS/SECRET HIDEOUT TEASER EXT. JUSTICE DEPARTMENT BUILDING - DAY RAIN falls like clear molasses at 25,000 frames per second, soaking a YOUNG WOMAN whom we see in BLURRY FRAGMENTS: Water dripping off the swish of her PONYTAIL -- the GUN AT HER HIP -- the FBI BADGE around her neck -- CLARICE (V.O.) I thought it was done... And she comes into FOCUS: CLARICE STARLING, 26, was first introduced to us fighting her way through the dark woods. Now, ONE YEAR after the events of The Silence Of the Lambs, she’s fighting her way through a swarm of PAPARAZZI as she makes her way to the street from the great doors of the DEPARTMENT OF JUSTICE: CLARICE (V.O.) I was there for the families of the victims. Some of them wanted to make statements. Close the book. Clarice is fumbling for her KEYS, trying to reach her car as the PAPARAZZI jostle and elbow -- their cameras FLASH -- CLARICE (V.O.) When I came out of Justice... they were all just... everywhere -- Clarice turns, looks right at them -- the FLASHES BUILD -- they’re SHOUTING her name: “Clarice Clarice!” -- her hand rises in front of her face to stop them from taking her picture -- to HIDE -- the POPFLASH effects a MATCH CUT TO: INT - THERAPIST’S OFFICE - QUANTICO - DAY THE SAME IMAGE ON A TABLOID COVER. Clarice swarmed at the courthouse.
[Show full text]
University of Florida Thesis Or Dissertation Formatting
“YOU AND I HAVE BEGUN TO BLUR”: THE DOUBLE AND QUEER MONSTROSITY IN BRYAN FULLER’S HANNIBAL By MEGAN FOWLER A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS UNIVERSITY OF FLORIDA 2016 1 To Jackie Elliott, my fellow colleague who spent many an hour on her couch screaming about Hannibal with me. 2 ACKNOWLEDGMENTS I would like to thank the members of my supervisory committee Barbara Mennel and Kim Emery for their extraordinary guidance and mentorship. I would also like to thank my professors, colleagues and friends who continue to inspire me to think in new and creative ways. Finally, I would like to thank my parents Danny and Maureen Fowler for their love and support, without which I would not be where I am today. 3 TABLE OF CONTENTS page ACKNOWLEDGMENTS .................................................................................................. 3 LIST OF FIGURES .......................................................................................................... 5 ABSTRACT ..................................................................................................................... 7 1 INTRODUCTION .......................................................................................................... 9 2 “WAS HE SOME KIND OF QUEER?”: QUEER REPRESENTATION, HOMOSEXUAL PANIC, AND HOMOPHOBIA IN THOMAS HARRIS’S HANNIBAL LECTER SERIES ................................................................................. 11 3 “COULD
[Show full text]
New Broadcast TV Series: the Good, the Bad, and the Too Bad by Steve Sternberg
March 2021 #103 __________________________________________________________________________________________ _____ New Broadcast TV Series: The Good, the Bad, and the Too Bad By Steve Sternberg Because of the pandemic, this is the first time in 30 years I haven’t seen any fall pilots and have only seen a few mid-season shows prior to their premieres. So I’m reviewing these new series after watching at least the first few episodes during their regular broadcast runs. Also due to the pandemic, many returning scripted shows didn’t premiere until January or later. These include, ABC’s The Rookie, Black-ish, Mixed-ish, NBC’s Zoey’s Extraordinary Playlist, Chicago Fire, Chicago Med, Chicago P.D., Law & Order: SVU, New Amsterdam, Good Girls, FOX’s Prodigal Son, The Resident, 9-1-1, 9-1-1: Lone Star, CW’s Batwoman, All American, Riverdale, Nancy Drew, Legacies, Charmed, Black Lightning, The Flash. Still to come this spring include, NBC’s Manifest, FOX’s The Moodys, and CW’s Legends of Tomorrow, In the Dark, and Dynasty. Here’s a look at the new broadcast series premiering so far this season: A Sternberg Report Sponsored Message The Sternberg Report ©2021 __________________________________________________________________________________________ _____ Big Sky (ABC): David E. Kelley crime drama centering around a seemingly harmless long-haul trucker (the always good Brian Geraghty) and state trooper (John Carroll Lynch) in Montana, an unlikely pair who are involved in abducting women as part of a human trafficking ring (and killing anyone who gets in their way). When teenage sisters (Natalie Alyn Lynd, Jade Pettyjohn) and a trans sex worker (Jesse James Keitel) are taken, an ex-cop and private detective (Katheryn Winnick, Kylie Bunbury) race against the clock to find the girls – bumping heads with local police along the way.
[Show full text]