DOCSLIB.ORG

The Cemetery Artist Ed Gein: a True American Horror Story a Film by Brian Lee Tucker

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Cemetery Artist Ed Gein: a True American Horror Story a Film by Brian Lee Tucker The Cemetery Artist / Ed Gein: a True American Horror Story The Cemetery Artist Ed Gein: a True American Horror Story A film by Brian Lee Tucker 1 The Cemetery Artist / Ed Gein: a True American Horror Story FADE IN EXT. THE GEIN FAMILY FARM – 1922 – DAY {A sixteen year old ED GEIN is raking leaves with his brother, HENRY, in the front yard. ED stops raking and glances around, whispering to HENRY.} ED: I got a half pint of dad’s stash. HENRY: {mortified} are you nuts? What if he notices it’s missing? ED: He won’t, come on. EXT. BEHIND THE BARN {ED and HENRY are sitting on a bale of hay passing the bottle back and forth when their mother, AUGUSTA, comes sneaking around the corner, surprising them. She is carrying a long switch made from a sticker bush in one hand and a Bible in the other. She is a fervent Lutheran, always preaching to her boys about the innate immorality of the world, the evil of drinking, and the belief that all women were naturally prostitutes and instruments of the devil. She reserved time every afternoon to read to them from the Bible, usually selecting graphic verses from the Old Testament concerning death, murder, and divine retribution. Henry and Ed have remained detached from people outside of their farmstead, and had only each other for company.} 2 The Cemetery Artist / Ed Gein: a True American Horror Story AUGUSTA: Ah-ha! Gotcha! HENRY: But mama, Ed made me- AUGUSTA: Don’t bother with your lies, Henry Gein. I know who does what around here, and I know darn well how much was left in your worthless father’s stash. ED: I’m sorry, mother. AUGUSTAL Not half as sorry as you’re gonna be. Now in the barn with the both of you. Bend over the trough and assume the position, you know the drill. {A heartbroken ED and HENRY shuffle slowly into the barn, with an angry AUGUSTA following close behind. Within seconds we hear the anguished crying of ED and HENRY as she lays down the switch on their bare behinds.} INT. THE KITCHEN – NIGHT {The whole FAMILY is at the dinner table, eating in an uncomfortable silence. The father, GEORGE, sits at the end of the table sipping liquor with his meal, much to the silent protest of his wife, who glares at him hatefully. The boys sit in silence, nervous and fidgety, barely picking at their food.} INT. THE KITCHEN – AN HOUR LATER {GEORGE is still sitting at the table smoking a cigarette and sipping liquor as 3 The Cemetery Artist / Ed Gein: a True American Horror Story AUGUSTA cleans the dishes. Unable to hold her tongue any longer, she turns around and places her hands on her hips like a drill Sergeant and glares at him some more.} AUGUSTA: Your boys are ending up just like you. GEORGE: {disinterested} and just how’s that? AUGUSTA: Drinking and smoking, sneaking around behind my back – just like you. GEORGE: {sarcastically} Ed is nothing like me. He’s a little mama’s boy, should be wearing a dress instead of coveralls. AUGUSTA: At least he’s no out whoring around, carousing with barflies. GEORGE: {grinning} Oh, that’s right; all women are naturally prostitutes and instruments of the devil. Which means that since you’re a woman, you must be evil too, right? {AUGUSTA’S eyes fill with rage now as she steps closer, her fists balled up as if to strike him. He smiles, thinking she doesn’t have the nerve.} GEORGE: I’d watch myself, woman, or- AUGUSTA: Or what? 4 The Cemetery Artist / Ed Gein: a True American Horror Story {AUGUSTA’S face furrows into a frown of rage and fury, and GEORGE backs off.} AUGUSTA: I thought so. INT. THE BOY’S BEDROOM – NIGHT {ED and HENRY lie in their beds whispering to each other in the dark.} ED: Henry, are you asleep? HENRY: No, you goof. How could I be asleep already with briars in my butt? ED: Why doesn’t dad love me, Henry? HENRY: Because he thinks you’re a mama’s boy. ED: But I’m not. HENRY: {hatefully} Oh yes you are. If you had your nose any farther up her butt, you could smell what she had for breakfast. ED: It ain’t so! HENRY: It is too! Mama’s boy! Mama’s boy! ED: Shut up! {ED rolls over, his eyes filled with tears, sobbing into his pillow as HENRY continues to torment him.} EXT. LOCAL CEMETERY – APRIL, 1940 - DAY 5 The Cemetery Artist / Ed Gein: a True American Horror Story {GEORGE GEIN has passed away, and AUGUSTA, ED, and HENRY are gathered around the open grave, listening to the town PASTOR, DAN, give a short but sweet eulogy. AUGUSTA is shedding crocodile tears while ED stands emotionless and indifferent, while HENRY seems genuinely grieved by his death.} DISSOLVE TO EXT. THE GEIN FARM – 1944 – DAY {ED and HENRY are setting small fires to clear away marsh vegetation on the property. As ED rakes up some hot coals, he stops to take off his gloves and look at the blisters on his hands. HENRY sees this and begins tormenting him again.} HENRY: Mama’s boy, mama’s boy! Are your poor little hands all sore? ED: {glaring} you just think you’re hot shit since daddy died, the big boss man of the house. HENRY: That’s right, mama’s boy, and don’t you forget it. ED: I’m warning you, Henry! HENRY: Little pussy boy. I bet you ain’t had pussy since pussy had you, have you?! {ED grabs his rake and strikes HENRY in the head with it, and HENRY falls to the ground, his body as limp as a wet rag. 6 The Cemetery Artist / Ed Gein: a True American Horror Story Blood is streaming from a gash in his head and his eyes are glazed over. ED grabs him by the ankles and drags his body over and rolls it into the fire, then stands back, smiling.} EXT. THE GEIN FARM – TWO HOURS LATER {ED has allowed the fire to burn out of control to hide what he’s done, and the SHERIFF, ART SCHLEY, is there, as well as members of the FIRE DEPARTMENT, dosing what’s left with water hoses. ART walks over to ED and begins drilling him with questions about HENRY. AUGUSTA stands close by, shedding crocodile tears and feigning concern.} ART: Now, where did you say you saw your brother last, Ed? ED: {pointing} right over yonder. ART: {to his DEPUTY} Bill, go over there and check out that big patch of burnt leaves, ok? BILL: Yes sir. {As BILL walks away, ART begins drilling ED again.} ART: Ed, your story is kind of flimsy, son. Now, tell me, what really happened? ED: Like I said, the wind picked up and the fire got out of control, and he went in there to try and stomp some of it out. 7 The Cemetery Artist / Ed Gein: a True American Horror Story ART: Ed, why in the hell would he do that if he had a water hose? ED: {nervously} I don’t know. {BILL comes running back up now, out of breath.} BILL: Found him, Sheriff. He looks kind of burnt up on one side, still has a rake in one hand. I’d say the smoke overtook him. ART: {glancing at ED suspiciously} uh- huh. {ED walks over now and hugs AUGUSTA, trying to console her.} ART: I bet, just like Cain and Abel. FADE OUT FADE IN EXT. THE SIDE YARD – DAY {A small informal funeral is being held for HENRY, with the only people in attendance being ED, AUGUSTA, and the town PASTOR, DAN GAINS. As ED stands teary-eyed staring expressionless at the new grave, AUGUSTA seems irritable and impatient as she seems to think that DAN is taking too long with the eulogy.} 8 The Cemetery Artist / Ed Gein: a True American Horror Story AUGUSTA: Pastor Gains, could you please go a little faster? I have a hair appointment today. INT. THE GEIN HOME – DUSK {ED has prepared something to eat for AUGUSTA and has placed it on a serving tray. He begins to leave the kitchen when he remembers something and stops to place a fresh flower on the tray. Smiling and satisfied, he leaves the room.} INT. THE UPSTAIRS BEDROOM {ED walks into AUGUSTA’S bedroom carrying the tray to find her sitting up in bed reading the Bible. She looks weak from her recent stroke but otherwise bright eyed and bushy tailed. Upon seeing ED she forces a smile.} AUGUSTA: Oh, Eddie, is that for me? ED: Yes mother. Eggs and ham and toast with strawberry jam, just the way you like it. {ED places the tray down next to her on the bed under her approving eye. She smiles again and motions to him to sit down on the edge of the bed.} AUGUSTA: I’m sorry, Eddie, for leaving you with so much responsibility. ED: Nonsense, mother. I don’t mind at all. 9 The Cemetery Artist / Ed Gein: a True American Horror Story AUGUSTA: That’s sweet, son, but I don’t really know how you manage it all. ED: I’m fine, really. Now eat your food before it gets cold, and I’ll be back in a few minutes, ok? AUGUSTA: Ok. {As ED leaves the room, she smiles after him fondly.} INT. THE LIVING ROOM – DECEMBER 29TH, 1945 – NIGHT {As ED is still cleaning up after the Christmas holidays, AUGUSTA sits close by, reading the Bible, and sipping leftover egg nog.
Load more

Recommended publications
  • NECROPHILIC and NECROPHAGIC SERIAL KILLERS Approval Page
    Running head: NECROPHILIC AND NECROPHAGIC SERIAL KILLERS Approval Page: Florida Gulf Coast University Thesis APPROVAL SHEET This thesis is submitted in partial fulfillment of the requirements for the degree of Master of Science Christina Molinari Approved: August 2005 Dr. David Thomas Committee Chair / Advisor Dr. Shawn Keller Committee Member The final copy of this thesis has been examined by the signatories, and we find that both the content and the form meet acceptable presentation standards of scholarly work in the above mentioned discipline. NECROPHILIC AND NECROPHAGIC SERIAL KILLERS 1 Necrophilic and Necrophagic Serial Killers: Understanding Their Motivations through Case Study Analysis Christina Molinari Florida Gulf Coast University NECROPHILIC AND NECROPHAGIC SERIAL KILLERS 2 Table of Contents Abstract ........................................................................................................................................... 5 Literature Review............................................................................................................................ 7 Serial Killing ............................................................................................................................... 7 Characteristics of sexual serial killers ..................................................................................... 8 Paraphilia ................................................................................................................................... 12 Cultural and Historical Perspectives
    [Show full text]
  • America's Fascination with Multiple Murder
    CHAPTER ONE AMERICA’S FASCINATION WITH MULTIPLE MURDER he break of dawn on November 16, 1957, heralded the start of deer hunting T season in rural Waushara County, Wisconsin. The men of Plainfield went off with their hunting rifles and knives but without any clue of what Edward Gein would do that day. Gein was known to the 647 residents of Plainfield as a quiet man who kept to himself in his aging, dilapidated farmhouse. But when the men of the vil- lage returned from hunting that evening, they learned the awful truth about their 51-year-old neighbor and the atrocities that he had ritualized within the walls of his farmhouse. The first in a series of discoveries that would disrupt the usually tranquil town occurred when Frank Worden arrived at his hardware store after hunting all day. Frank’s mother, Bernice Worden, who had been minding the store, was missing and so was Frank’s truck. But there was a pool of blood on the floor and a trail of blood leading toward the place where the truck had been garaged. The investigation of Bernice’s disappearance and possible homicide led police to the farm of Ed Gein. Because the farm had no electricity, the investigators con- ducted a slow and ominous search with flashlights, methodically scanning the barn for clues. The sheriff’s light suddenly exposed a hanging figure, apparently Mrs. Worden. As Captain Schoephoerster later described in court: Mrs. Worden had been completely dressed out like a deer with her head cut off at the shoulders.
    [Show full text]
  • Frequencies Between Serial Killer Typology And
    FREQUENCIES BETWEEN SERIAL KILLER TYPOLOGY AND THEORIZED ETIOLOGICAL FACTORS A dissertation presented to the faculty of ANTIOCH UNIVERSITY SANTA BARBARA in partial fulfillment of the requirements for the degree of DOCTOR OF PSYCHOLOGY in CLINICAL PSYCHOLOGY By Leryn Rose-Doggett Messori March 2016 FREQUENCIES BETWEEN SERIAL KILLER TYPOLOGY AND THEORIZED ETIOLOGICAL FACTORS This dissertation, by Leryn Rose-Doggett Messori, has been approved by the committee members signed below who recommend that it be accepted by the faculty of Antioch University Santa Barbara in partial fulfillment of requirements for the degree of DOCTOR OF PSYCHOLOGY Dissertation Committee: _______________________________ Ron Pilato, Psy.D. Chairperson _______________________________ Brett Kia-Keating, Ed.D. Second Faculty _______________________________ Maxann Shwartz, Ph.D. External Expert ii © Copyright by Leryn Rose-Doggett Messori, 2016 All Rights Reserved iii ABSTRACT FREQUENCIES BETWEEN SERIAL KILLER TYPOLOGY AND THEORIZED ETIOLOGICAL FACTORS LERYN ROSE-DOGGETT MESSORI Antioch University Santa Barbara Santa Barbara, CA This study examined the association between serial killer typologies and previously proposed etiological factors within serial killer case histories. Stratified sampling based on race and gender was used to identify thirty-six serial killers for this study. The percentage of serial killers within each race and gender category included in the study was taken from current serial killer demographic statistics between 1950 and 2010. Detailed data
    [Show full text]
  • Adam Gopnick
    WERNER HERZOG IN CONVERSATION WITH PAUL HOLDENGRÄBER WAS THE 20th CENTURY A MISTAKE? February 16, 2007 Celeste Bartos Forum New York Public Library WWW.NYPL.ORG/LIVE NATHANIEL KAHN: Hello. Okay, thank you for coming to the New York Public Library—and I have a couple of brief—I’m Nathaniel Kahn and I have a couple of—can everybody hear back there? A couple of brief notes, first of all thank you very much for joining us tonight. And this is a promotional offer—we’re happy to offer each person who signs up on our e-mail list, one free ticket to a LIVE from the New York Public Library program in the Spring 07 season. Just to give you a little preview of the coming events. On March 7th, Paul has a conversation with William T. Vollmann and it’s called “Are You Poor?” and the answer for all of us is probably yes. March 10th, Mira Nair and Jhumpa Lahiri, March 26th, Clive James in conversation with Paul Holdengräber, and that’s called “Cultural Amnesia.” And lastly, we encourage you to become a Friend of the library and support these wonderful events, and LIVE from the NYPL, Werner Herzog in conversation with Paul Holdengräber, 2/16/07, page 1 they are wonderful, at LIVE from the New York Public Library, and you can sign up at the Friends table. This is an enormous honor for me to introduce Werner Herzog, who needs no introduction from me, but when Paul asked me to introduce him, of course I said yes—how can you not say yes to introducing your hero?—even if it is a little like asking the ant to introduce the elephant.
    [Show full text]
  • Norman Bates As “One of Us”: Freakery in Alfred Hitchcock's
    an online journal of trespassing art, science, and philosophy www.trespassingjournal.com Trespassing Bodies: Issue 6, Winter 2017 Norman Bates as “One of us”: Freakery in Alfred Hitchcock’s Psycho1 Amanda Roberts Northern Illinois University Abstract In the mid-nineteenth-century, P.T. Barnum gained a fame for exhibiting attractions and persons such as the Feejee Mermaid, “General” Tom Thumb, and Joice Heath. While freakshows had previously existed to a certain extent, they did not gain great popularity until this period. However, with increased access to travel through rail lines, it was possible to bring freaks to spectators, rather than spectators traveling long distances to gaze at freaks. In addition, industrialization made more leisure time possible for persons who previously would not have had such a luxury. Also, industrialization was beginning to shape perceptions of what was considered a normal body; bodies ought to be able to operate standardized machinery and wear mass-produced clothing. Thus, it was a shift in culture that made the freak show possible. Rosemarie Garland- Thompson argues that freaks are made, not born, and the people often described as freaks of nature are in fact, “freaks of culture” (10). Nadja Durbach believes these freaks of culture were valued or devalued as the case might be for their ability to shatter dichotomies (3). This epistemological shift in the way bodies were perceived came from a practice Robert Bogdan has called “freakery,” which he defines as “a way of thinking about and presenting people –a frame of mind and a set of practices” (24). The creation of freaks was achieved through various means, through exotisizing the other, through medical testimony, pure showmanship, and sometimes plain trickery.
    [Show full text]
  • The Skin and the Protean Body in Pedro Almodóvar's Body Horror
    humanities Article Destruction, Reconstruction and Resistance: The Skin and the Protean Body in Pedro Almodóvar’s Body Horror The Skin I Live In Subarna Mondal Department of English, The Sanskrit College and University, Kolkata 700073, India; [email protected] Abstract: The instinct to tame and preserve and the longing for eternal beauty makes skin a crucial element in the genre of the Body Horror. By applying a gendered reading to the art of destruction and reconstruction of an ephemeral body, this paper explores the significant role of skin that clothes a protean body in Almodóvar’s unconventional Body Horror, “The Skin I Live In” (2011). Helpless vulnerable female bodies stretched on beds and close shots of naked perfect skin of those bodies are a frequent feature in Almodóvar films. Skin stained and blotched in “Tie Me Up! Tie Me Down!” (1989), nurtured and replenished in “Talk to Her” (2002), patched up and stitched in “The Skin I Live In”, becomes a key ingredient in Almodóvar’s films that celebrate the fluidity of human anatomy and sexuality. The article situates “The Skin I Live In” in the filmic continuum of Body Horrors that focus primarily on skin, beginning with Alfred Hitchcock’s “Psycho” (1960), and touching on films like Jonathan Demme’s “The Silence of the Lambs” (1991) and Tom Tykwer’s “Perfume: The Story of a Murderer” (2006) and attempts to understand how the exploited bodies that have been culturally and socially subjugated have shaped the course of the history of Body Horrors in cinema. In “The Skin I Live In” the destruction of Vicente’s body and its recreation into Vera follow a mad scientist’s urge to dominate an unattainable body, but this ghastly assault on the body has the onscreen appearance of a routine surgical operation by an expert cosmetologist in a well-lit, sanitized mise-en-scène, Citation: Mondal, Subarna.
    [Show full text]
  • Beruf: Kameramann Und Abenteurer
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Hochschulschriftenserver - Universität Frankfurt am Main Beruf: Kameramann und Abenteurer Über den Kameramann Thomas Mauch Wie das Auge des Conquistador vermisst die Kamera den Amazonasdschungel im Vorbeifahren. Sie belichtet ihr Material mit den Bildern des Urwalds, wie die Eroberer die weißen Flecken auf ihren Landkarten mit ihrem neuen Besitz ”belichteten” und füllten. ”Unser Land ist jetzt schon gut sechsmal größer als Spanien und jeder Tag unterwegs macht es gewaltiger”, sagt Fernando de Guzman in Werner Herzogs Aguirre, der Zorn Gottes, während die Kamera unentwegt die Bilder von Guzmans zukünftigem grünen Grab abfilmt. Thomas Mauch heißt der Kameramann, der für Herzog die Bilder des Dschungels eingefangen hat. Mauch, der am 4. April 1937 in Heidenheim (am Brenz in der Nähe von Ulm) geboren wurde, arbeitet seit dem Film Auch Zwerge haben klein angefangen (1968) mit Herzog zusammen. Immer wieder sind es Stoffe, bei denen Herzog Abenteuer und einen dokumentarischen Blick benötigt, zu denen er Thomas Mauch verpflichtet. So auch Stroszek von 1977. Der Film erzählt die Geschichte dreier gescheiterten Biografien, die sich zusammentun, um in Amerika noch einmal ganz von vorn anzufangen. Detailliert wird das Unglück geschildert und bebildert, dass der entlassene Sträfling Bruno Stroszek (Bruno S.), die Prostituierte Eva (Eva Mattes) und der verwirrte Rentner Herr Scheitz (Clemes Scheitz) erleben. Dass Herzog versucht, reale Elemente mit fiktionalen zu verbinden, deutet schon die Namenswahl der Charaktere an. In den USA sucht er sich als Schauplatz den Ort Plainfield (in Wisconsin), den er kurzerhand in ”Railroad Flats” umbenennt.
    [Show full text]
  • Alfred Hitchcock's Psycho
    UNIVERSIDADE DA CORUÑA FACULTADE DE FILOLOXÍA INGLESA GRAO EN INGLÉS: ESTUDOS LINGÜÍSTICOS E LITERARIOS Alfred Hitchcock’s Psycho: A Gender Studies Perspective Student: Carlota Ares Carrero Advisor: Carolina Núñez Puente Year 2017 Table of Contents Abstract………………………………………..……………………..…….….….......…3 Introduction………….………………………….…….…………………..……..…....…4 1. Understanding Alfred Hitchcock and his Psycho........................................................7 1.1. Hitchcock, the biographical drama film………………...…………..….....……8 1.2. Alfred Hitchcock’s relationships with women………….……….…….....…...12 1.3. Hitchcock in interviews and film studies……………………..………......…..15 2. Hitchcock’s Psycho………………...…………….………………….…..…...……..17 2.1. Gendered characters……………………………………………….………….18 2.2. Gendered themes…………………………………………….…….…..….......25 2.3. Form and gender……………………………………………...…….......……..29 Conclusion……………………………………….…………………………………......35 Works Cited………………………………….…………………………………....……37 Appendix ………………………………………..……………………………....….….40 2 Abstract This undergraduate thesis pursues a gender study of the renowned Alfred Hitchcock’s film Psycho (1960), the masterpiece of his filmography. The personality of the director will also be analyzed due to his turbulent relationships, especially with actresses, which highly affected his way of working. To pursue this objective, Laura Mulvey’s theory about the male gaze will be used, together with other theories from Gender Studies (e.g. Tania Modleski’s and Camille Paglia’s), as will be the biography of the director written by François Truffaut. After presenting a general overview of Hitchcock’s world, I will explore his methods of working, paying attention to the production of Psycho and to the film itself in relation to gender issues over the course of the different sections of the dissertation. The object of this analysis is not to discredit Alfred Hitchcock’s prestige, since his work is exceptional, but instead to ascertain whether Psycho is indeed as misogynist as his filmmaker’s reputation.
    [Show full text]
  • Serial Murderers and Their Early Childhood Environments
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Toin University of Yokohama Academic Repository 「桐蔭論叢」第 32 号 2015 年 10 月 〈医用工学部研究論文〉 Serial murderers and their early childhood environments Kenji ABE, Ed.D. 桐蔭横浜大学医用工学部 （2015 年 3 月 20 日 受理） 1. Introduction else during the primary years of personality development….and there was nothing in their In his trauma-control model, Hickey (1997) early years that would have prepared them for hypothesizes how the mind of the serial murder the sequential predation that would occur later develops. He posits that the subject experiences in their lives” (p. 267). The subject can also re- certain destabilizing event(s) “during the forma- call the painful social event that made him feel tive years” (p. 86). Such an unresolved trauma that the sequential homicide would be accept- causes feelings of inadequacy and self-doubt able. in the subject, which is suppressed to such an Fox and Levin (1998) point out “the inabil- extent that it cannot be recalled consciously. ity to predict (and selectively prevent) [multiple This suppressed experience in time will be split murder] from an understanding of early child- off within the subject. However, the pain of a hood events” (p. 449) based on the fact that few traumatic event will eventually surface. “For the of those who share some common trait actually offender, this cycle of trauma and quest for re- become such killers. However, Lykken (1995) gaining control can be generated at a very early reiterates that nature works only through nur- age” (p.
    [Show full text]
  • LA BALLATA DI STROSZEK (Stroszek, RFT/1977) Di Werner Herzog (115')
    Cave of Forgotten Dreams. Il cinema di Werner Herzog Cinema Lumière – dall'8 al 24 novembre 2012 LA BALLATA DI STROSZEK (Stroszek, RFT/1977) di Werner Herzog (115') Ventidue anni di reclusione tra brefotrofi, riformatori, prigioni, manicomi, la vita di Bruno S. è la storia di un lungo calvario. Herzog scoprì Bruno S. attraverso un documentario televisivo che proponeva la sua storia come esempio di un uomo distrutto dalla società. Era un caso molto simile a quello di Kaspar Hauser, il trovatello di Norimberga, l'uomo che non aveva partecipato alla società ma ne era stato escluso e che Herzog si accingeva a portare sullo schermo. Da allora Bruno S. è diventato per Herzog il modello vivente di quel conflitto fra individuo e società che è il motivo dominante del jung deutsche Film; da allora Bruno S. continua a rivivere anche davanti alla macchina da presa il suo ruolo di emarginato offrendo uno straordinario saggio di straniamento, pur senza conoscere Brecht, con i suoi tic, il suo sguardo distaccato, i suoi movimenti legnosi. Bruno S. è il simbolo di una tragica condizione umana, dell'innocenza tradita, dell'escluso vittima di tutte le violenze individuali e sociali. È il bimbo prematuro (come sottolinea Herzog per accostamento in una scena del film) che si aggrappa disperatamente a tutti gli appigli che gli si offrono e non a caso per lui l'America è il sogno dorato che si dissolve in un triste risveglio dove gli incubi della notte acquistano sembianze dalle forme reali che appaiono nella livida luce di un mattino nebbioso.
    [Show full text]
  • A Psychological Comparison of Literary and Real-Life Serial Killers
    ABSTRACT DEPARTMENT OF HUMANITIES GLAPION, QUIANNA B.A. LOYOLA UNIVERSITY NEW ORLEANS, 2000 M.A. TEXAS SOUTHERN UNIVERSITY, 2009 FBI FILES: A PSYCHOLOGICAL COMPARISON OF LITERARY AND REAL-LIFE SERIAL KILLERS Committee Co-Chairs: Viktor Osinubi, Ph.D. and Timothy Askew, Ph.D. Dissertation dated May 2019 This study examines the psychology of fictional and real-life serial killers and the behavioral similarities between them. Three fictional murderers, mainly Macbeth (William Shakespeare’s Macbeth), Buffalo Bill (The Silence of the Lambs), and the Creature (Frankenstein), as well as real life killers such as Charles Manson, Ed Gein, and Edmund Kemper were researched in depth. The data for this study was gathered from a variety of sources such as biographies, television interviews, published novels, articles, and documentaries. This study also focuses on predispositional factors and personality traits that led these killers to a life of crime. While no single behavioral trait was found to be present in every murderer studied, some of the psychological factors that were found to have predictive value included: abusive upbringings, mother hate, adoption, pornography, and brain damage were also reliable predictors in the lives of fictional and nonfictional perpetrators. i FBI FILES: A PSYCHOLOGICAL COMPARISON OF LITERARY AND REAL-LIFE SERIAL KILLERS A DISSERTATION SUBMITTED TO THE FACULTY OF CLARK ATLANTA UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY BY QUIANNA GLAPION DEPARTMENT OF HUMANITIES ATLANTA, GEORGIA MAY 2019 © 2019 QUIANNA GLAPION All Rights Reserved ACKNOWLEDGEMENTS I wish to express my deepest appreciation to Dr. Viktor Osinubi, my committee chair, who has the substance of brilliance and ingenuity.
    [Show full text]
  • The Rhetoric of Rogue Cinema Adam Breckenridge University of South Florida, [email protected]
    University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School 5-9-2014 Acts of Rebellion: The Rhetoric of Rogue Cinema Adam Breckenridge University of South Florida, [email protected] Follow this and additional works at: https://scholarcommons.usf.edu/etd Part of the Film and Media Studies Commons, and the Rhetoric Commons Scholar Commons Citation Breckenridge, Adam, "Acts of Rebellion: The Rhetoric of Rogue Cinema" (2014). Graduate Theses and Dissertations. https://scholarcommons.usf.edu/etd/5191 This Dissertation is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Acts of Rebellion: The Rhetoric of Rogue Cinema by Adam Breckenridge A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Department of English with a Concentration in Rhetoric and Composition College of Arts and Sciences University of South Florida Major Professor: Philip Sipiora, Ph.D. Marc Santos, Ph.D. Margit Grieb, Ph.D. Amy Rust, Ph.D. Date of Approval: May 9, 2014 Keywords: Film Studies, Rogue Cinema, Burke, Zizek Copyright © 2014, Adam Breckenridge Dedication This work is dedicated to Roger Ebert, who was the first person to ever teach me to love the movies. Acknowledgments I would first of all like to thank my chair, Dr. Sipiora, for introducing me to the concept of rogue cinema and for guiding me through my own exploration of it. I would also like to thank my readers, Drs.
    [Show full text]