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Meurtre Et Sérialité : L'émergence Du Serial Killer Dans La Culture Médiatique Américaine

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Meurtre Et Sérialité : L'émergence Du Serial Killer Dans La Culture Médiatique Américaine Document generated on 09/30/2021 3:44 p.m. Études littéraires Meurtre et sérialité : l’émergence du serial killer dans la culture médiatique américaine Serge Chazal Récit paralittéraire et culture médiatique Article abstract Volume 30, Number 1, automne 1997 The last twenty years have seen serial killers become part of American culture, with Charles Manson,Ted Bundy WiliamGacy, Hannibal Lecter and others of URI: https://id.erudit.org/iderudit/501189ar their ilk joining Dracula, Frankenstein and Hitler as icons of evil. This article DOI: https://doi.org/10.7202/501189ar traces the emergence in American media culture of various aspects of the morbid fascination with serial killers : a cocktail of sex, violence and death. See table of contents Yellow journalism, true crime books, thrillers, comic books, movies and television have been willing panders to this singular preference, a preference destined to reach its climax in the mid90s with the proliferation of Internet sites. The recent appearance of a new star, the "profiler" - a species of vampire Publisher(s) slayer, as it were - signals, however, an emerging backlash to this escalation of Département des littératures de l'Université Laval violence. ISSN 0014-214X (print) 1708-9069 (digital) Explore this journal Cite this article Chazal, S. (1997). Meurtre et sérialité : l’émergence du serial killer dans la culture médiatique américaine. Études littéraires, 30(1), 71–79. https://doi.org/10.7202/501189ar Tous droits réservés © Département des littératures de l'Université Laval, 1997 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ MEURTRE ET SÉRIALITÉ L'émergence du sériai killer dans la culture médiatique américaine Serge Chazal • Si la production de la culture médiati­ milieu des années soixante-dix, il a été que a partie liée avec la sérialité, le tueur amené pour la première fois à nommer et sériel ne serait-il pas le héros sombre et forger le concept de sériai killer. D'une emblématique de cette culture dans l'ima­ part, il y a l'expérience-limite du tueur - ginaire collectif américain ? À production fantasmes aidant, le prochain meurtre est sérielle et consommation sérielle répon­ anticipé, préparé, mis en scène, mais, pas draient les récits de meurtres sériels. C'est plus que les précédents, il n'amènera un bref panorama des incarnations pleine satisfaction au meurtrier. D'autre transmédiatiques de ce héros que l'on se part, il y a cette expérience propre à la propose de dresser ici. culture médiatique : évoquant, avec une « Mon Dieu, je l'ai tuée trop rapidement. certaine nostalgie, les séances du samedi Je n'ai pas pris assez de temps pour m'amu­ après-midi de sa jeunesse dans le Midwest, ser avec elle, pour la torturer correctement. Ressler insiste sur le sentiment de frustra­ J'aurais du l'approcher différemment, tion qui l'envahissait lorsque les aventu­ j'aurais du penser à d'autres formes de vio­ res du Fantôme ou de Dick Tracy se ter­ lences sexuelles » (sic). minaient de façon abrupte sur ces mots C'est ainsi que Robert Ressler, agent du fatidiques... «la suite à la semaine pro­ F.B.I., fondateur du B.S.U. (Behavioral chaine ». Ressler compare cette frustra­ Science Unit) de Quantico, Virginie, dans tion, ce sentiment d'insatisfaction quasi son ouvrage Whoever fights monsters existentielle à ceux des tueurs sériels, (1992) \ tente de faire saisir comment, au pour lesquels chaque meurtre appelle en 1 Traduit sous le titre Chasseur de monstres (Presse de la Cité, 1993). Études Littéraires Volume 30 N° 1 Automne 1997 ÉTUDES LITTÉRAIRES VOLUME 30 N° 1 AUTOMNE 1997 soi une nouvelle victime. Compulsion, frus­ Il existe près d'une vingtaine de magazi­ tration, répétition, fidélité (aux victimes, nes. Pour la plupart, ce sont des mensuels, aux auteurs, aux genres...), lecteur sériel mais certains publient un numéro spécial, et tueur sériel ont sans doute en partage annuel, un yearbook. Il y a peu de variété un certain nombre de comportements in­ ni dans les titres {True Détective, True Po­ quiétants. lice, Inside Détective, Startling Détective, Qu'est-ce qu'un tueur sériel ? Les ex­ Front Page Détective, etc.), ni dans les cou­ perts débattent : un meurtrier (ou une vertures (elles présentent, en couleurs, des meurtrière) doit, sur une période variable femmes plus ou moins dénudées, menaçan­ (jours, mois et même années), tuer un mi­ tes ou provocantes, menacées ou effrayées, nimum de trois à quatre victimes, généra­ mortes...), ni dans le style raccrocheur des lement selon une formule ritualisée — type articles : « La police est confrontée à un Jack de victime choisie (étudiantes, enfants, l'Éventreur moderne... LE TUEUR SADIQUE QUI prostituées...) et un tnodus operandi, TRAQUE LES PROSTITUÉES DANS LES COUINES ». Ces c'est-à-dire la méthode utilisée pour circon­ magazines, dont certains existent depuis les venir ou agresser la victime potentielle, années vingt, se sont spécialisés, depuis la mais aussi les sévices, sexuels pour la plu­ fin des années soixante-dix, dans les tueurs part, qui accompagnent ou suivent les sériels, ce qui leur permet d'associer de fa­ meurtres. çon très lucrative (forts tirages), sexe, vio­ Toutefois, pour nous, le tueur sériel n'a lence, sang et mort. d'existence dans l'imaginaire collectif amé­ Les monographies, elles, se multiplient ricain que dans la mesure où il est identifié au début des années quatre-vingt. Elles sont sous ce vocable. L'émergence du sériai soit des études globales sur le phéno­ killer dans l'imaginaire collectif américain mène 3, soit des biographies consacrées à s'est faite lentement, par étapes, à travers un tueur particulier. Au palmarès du meur­ un nombre de plus en plus important de tre en série, on trouve bien entendu médias porteurs. Théodore « Ted » Bundy (sept titres), John Tout commence, à la fin des années Wayne Gacy « The Killer Clown » (quatre soixante-dix, avec un genre très particulier titres), David Berkowitz « Son of Sam » (qua­ que l'on appelle dans les pays anglo-saxons tre titres) et, dernièrement, Jeffrey Dahmer le true crime. Dans la toute récente col­ « The Milwaukee Cannibal » (quatre titres). lection « Crimes & Enquêtes » chez «J'ai À l'heure actuelle, de la plus modeste à la Lu » (1993), on utilise l'expression « histoi­ plus prestigieuse, chaque librairie aux États- res policières véridiques » pour le décrire 2. Unis dispose d'une section consacrée au Ce genre s'illustre dans la culture médiati­ true crime, section représentant parfois que américaine par deux supports, les plus d'une centaine de titres dont la moi­ magazines et les monographies. tié est consacrée à des tueurs sériels. 2 II faut remarquer, à ce sujet, la popularité $. indissante de ce genre en France, à travers la collec- tion citée précédemment mais aussi avec l'apparition, i Fleuve Noir, de la collection « Crime Story ». 3 Comme The Sériai Killers de Colin Wilso & Donald Seaman, 1990, Sériai Murderers de Art Crockett, 1991, ou The Murder Year Book de Brian L; e, 1992. 72 MEURTRE ET SÉRIALITÉ : L'ÉMERGENCE DU SERIAL KILLER ... La présentation des ouvrages a évolué nouveauté, une cassette permet dans cer­ depuis le milieu des années soixante-dix 4. tains cas (Henry Lee Lucas) d'entendre le Au départ, ils font partie de la très large tueur sériel raconter dans les détails ses catégorie non-fiction et ne se distinguent meurtres les plus horribles 5. pas particulièrement du reste de la produc­ Or, depuis quelques années, un lien tion (première ou quatrième de couverture s'établit explicitement dans la présentation par exemple). Cependant, on y mentionne paratextuelle non plus entre fiction et réa­ qu'il s'agit d'histoires vraies ayant pour lité, sur le modèle réaliste, mais entre réa­ sujet des meurtres en séries. À partir du lité et fiction, sur le mode du simulacre. milieu des années quatre-vingt, un certain Ainsi, sur certaines quatrièmes de couver­ nombre de changements apparaissent : la ture apparaissent des commentaires première de couverture présente une ou comme « Se lit comme le meilleur des plusieurs photos du tueur, assorties de thrillers » ou « Se lit comme le meilleur des commentaires-choc dans la veine des ma­ récits d'horreur ». Car il faut dire que, de­ gazines consacrés au true crime. On y pré­ puis la fin des années soixante-dix, les sente les victimes : « jeunes », « belles », tueurs sériels se sont glissés discrètement « violées », « torturées », « mutilées », « mor­d'abord, puis de façon de plus en plus en­ tes » ; les criminels, eux, sont « intelli­ vahissante dans le roman policier. gents », « diaboliques », « sadiques », « bizar­ En 1973, c'est Daniel G. Blank et son res », « fascinants » et même « séduisants » ! pic à glace dans The First Deadly Sin de Et on nous promet, grande nouveauté, huit Lawrence Sanders. Ce même Sanders nous pages de photographies : « dramatiques », présente quelques années plus tard une des « inédites », « choquantes », « horrifiantes ». rares incarnations féminines du tueur sériel Ces photographies se répartissent selon avec Zoe Kohler et son couteau suisse dans quatre grands thèmes : les victimes (avant The ThirdDeadly Sin (1981). S'il n'est pas et après, le meurtre), les tueurs (avant et dans notre propos de passer en revue tous après, l'arrestation), les policiers, les ins­ les romans policiers mettant en vedette les truments de la mort. Quelquefois s'y ajoute sériai killers 6, soulignons une évolution un cinquième thème : les lieux de la mort récente du thème avec la sérialisation du (cave, rivière, clairière, maison abandon­ tueur sériel, l'introduction du tueur sériel née).
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