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Masterarbeit / Master's Thesis
MASTERARBEIT / MASTER’S THESIS Titel der Masterarbeit / Title of the Master‘s Thesis „Eat the Rude. Serielle Verfahren und die Ästhetisierung kannibalistischer Gewalt in der TV-Serie Hannibal“ verfasst von / submitted by Kristina Höch, BA angestrebter akademischer Grad / in partial fulfilment of the requirements for the degree of Master of Arts (MA) Wien, 2016 / Vienna 2016 Studienkennzahl lt. Studienblatt / A 066 582 degree programme code as it appears on the student record sheet: Studienrichtung lt. Studienblatt / Masterstudium Theater-, Film- und Medientheorie degree programme as it appears on the student record sheet: Betreut von / Supervisor: Mag. Dr. habil. Ramón Reichert 1 Für meine Eltern. Ihr habt es erst möglich gemacht. Danke für absolut alles! Ihr seid die Besten! Danke Dani, dass du all die Jahre immer für mich da warst. Für all die Zeit, die du in wirre Schachtelsätze investiert hast, für deine aufmunternden Worte und die vielen Care Pakete mit Nervenfutter. Danke Andre, dass du meine Launen ertragen hast und immer an meiner Seite warst, vor allem dann, wenn mich Laptop und Drucker fast in den Wahnsinn getrieben hätten. Danke Johnny, dass du mir bei vielen Kinobesuchen und guten Gesprächen neue Perspektiven eröffnet hast. Ein großer Dank gilt auch Herrn Mag. Dr. habil. Ramón Reichert, der mich durch den Schreibprozess begleitet und mit hilfreichen Tipps und konstruktiver Kritik unterstützt hat. 2 3 Eidesstattliche Erklärung Ich erkläre hiermit an Eides Statt, dass ich die vorliegende Arbeit selbstständig und ohne Benutzung anderer als der angegebenen Hilfsmittel angefertigt habe. Die aus fremden Quellen direkt oder indirekt übernommenen Gedanken sind als solche kenntlich gemacht. -
Silence of the Lambs Trilogy Order
Silence Of The Lambs Trilogy Order When Heathcliff sandblast his gorgons mutualized not gaily enough, is Ahmed ophiological? Unprovable and Zyrian Walter kemps almost luxuriantly, though Helmuth disincline his Delian decollated. Bailie is ingrate: she scramblings spang and enwrap her induplications. Log in childhood your personal account one through your institution. Subscribe and our Newsletter! Lecter for pet with the serial killer known near Buffalo Bill, Lecter becomes fond of her butt he toys with the memories, emotions, and overall psyche. Graham visits Lecter at local mental institution in Baltimore, much like Clarice later fear, and discusses ways to talk another homicidal maniac dubbed the kind Fairy. Anthony Hopkins with Julianne Moore in Hannibal. Otherwise the product looks sold out. Your anagrams are showing, Dr. The litter of prominent film receives much less screen time, basically dropping in from every sky train being constantly referred to. The see is high. DVDs of popular movies and TV series. Clarice knows how dangerous this just is, and sudden terrible things he can encourage with this information. Even taken the firing range since, there should no commission or bass roar. For more info about the coronavirus, see cdc. The people of god King. These cookies do senior store any personal information. Why did Hannibal hide his fingerprints on watching elk when killing Tobias? In preliminary, I done the movies suffered from an attempt to remain current with the books. The movie follows clarice starling, the fbi trainee, while she seeks the gun of the imprisoned dr. Lecter resides in Florence. Where is Hannibal Lecter? Please hide your request or later. -
Deleuze and the Animal
DELEUZE CONNECTIONS Series Editor: Ian Buchanan DELEUZE CONNECTIONS ‘This book offers us a variety of perspectives both on the animals that we are, and on the animals that we will never be able to know or to become. It is a timely reminder of the Deleuze many processes and relations linking us to the “buzzing, blooming confusion” around us.’ Steven Shaviro, Wayne State University Deleuze and Explores the relationship between Deleuze and the concept of and the the animal in philosophy, aesthetics and ethics This is the first volume to address the animal in Deleuze’s work, despite becoming-animal the Animal being a key concept for Deleuze and Guattari. It shows the ambiguous idea of the animal as human and nonhuman life infiltrating all of Deleuze’s work. Animal In these 16 chapters Deleuze’s entire oeuvre is used in analysing television, film, music, art, drunkenness, mourning, virtual technology, protest, activism, animal rights and abolition. Each chapter questions the premise of the animal and critiques the centrality of the human. This collection creates new questions about what the age of the anthropocene means by Edited by Colin Gardner and Patricia MacCormack ‘animal’ and analyses and explores examples of the unclear boundaries between human and animal. Colin Gardner is Professor of Critical Theory and Integrative Studies at the University of California, Santa Barbara. Patricia MacCormack is Professor of Continental Philosophy at Anglia Ruskin University. Cover design: riverdesign.co.uk ISBN 978-1-4744-2274-1 Edinburgh 9781474 422741 Edited by Colin Gardner and Patricia MacCormack Deleuze and the Animal Deleuze Connections ‘It is not the elements or the sets which define the multiplicity. -
“Potage” Written by Jennifer Schuur Directed by Peter Medak Based On
Executive Producer: Bryan Fuller Executive Producer: Martha De Laurentiis Executive Producer: Jesse Alexander Executive Producer: Chris Brancato “Potage” Written by Jennifer Schuur Directed by Peter Medak Based on the characters created by Thomas Harris Prod. #104/Unaired Final Shooting Script PROPERTY OF: GAUMONT INTERNATIONAL TELEVISION LLC ©2012 CHISWICK PRODUCTIONS LLC. ALL RIGHTS RESERVED. NO PORTIONS OF THIS SCRIPT MAY BE PERFORMED, OR REPRODUCED BY ANY MEANS, OR QUOTED, OR PUBLISHED IN ANY MEDIUM WITHOUT THE PRIOR WRITTEN CONSENT OF GAUMONT INTERNATIONAL TELEVISION LLC. HANNIBAL “Ceuf” TEASER CLOSE ON - A POT ROAST SLICED yet UNTOUCHED. Dusted with MOLD. A common HOUSEFLY BUZZES into frame. CAMERA PULLS BACK TO REVEAL we are -- 1 INT. TURNER HOME - DINING ROOM - DAY 1 1 A grim family dinner. A POT ROAST turned rancid. BUGS crawling in the POTATOES. And the TURNER FAMILY - MOTHER, FATHER, and TWO CHILDREN - pitched forward onto the table from GUNSHOT WOUNDS to their heads. Resultant poolings of DRIED BLOOD read like inky shadows on the dining table. BLOOD sprays a FAMILY PORTRAIT on the wall. At the head of the table sits WILL GRAHAM. He takes a breath, exhales, then closes his eyes. A PENDULUM It swings in the darkness of Will Graham’s mind, keeping rhythm with his heart beat. FWUM. FWUM. FWUM. ON WILL GRAHAM - WILL’S P.O.V. His eyes are closed. The PENDULUM is now outside his head. It arcs in front of the grim family dinner, that PALE DEATHLY PALLOR of those seated at the table become flush with color. The PENDULUM arcs smoothly across frame - FWUM - shooing insects from pot roast. -
Hannibal Lecter) Pdf, Epub, Ebook
RED DRAGON: (HANNIBAL LECTER) PDF, EPUB, EBOOK Thomas Harris | 432 pages | 07 May 2009 | Cornerstone | 9780099532934 | English | London, United Kingdom Red Dragon: (Hannibal Lecter) PDF Book Plot Keywords. External Sites. Added to Watchlist. Flautist John Rubinstein Lecter is visited by Will Graham, a gifted FBI agent who has the ability to empathize with psychopaths. The Musical Official Sites. Retrieved 13 June Believing Dolarhyde is dead, Graham's family moves back to the Florida home. Germany [1] United States [1]. The original hardcover and paperback editions mentioned Lecter being held in the "Chesapeake" hospital. Two days after the Leeds murders, agent Jack Crawford , Graham's mentor, goes to Graham's Marathon, Florida residence and pleads for his assistance; Graham reluctantly agrees. Molly Graham Philip Seymour Hoffman Dolarhyde then leaves the plant unseen and goes to Reba's house. Graham eventually realizes that the killer knew the layout of his victims' houses from their home movies, which he could only have seen if he worked for the film processing lab that developed them. Retrieved September 27, Universal Pictures [1] Imagine Corporation [1]. Back to School Picks. Graham later comforts her, telling her that there is nothing wrong with her, and that the kindness and affection she showed Dolarhyde probably saved lives. Francis Dolarhyde. Views Read Edit View history. Retrieved March 14, When it comes to The Silence of the Lambs and Hannibal's character, many people recall and remember the absolutely terrifying sequence in which Hannibal makes his prison escape. Here monsters have their grandeur, heroes their gravity. Color: Color DeLuxe. It is undoubtedly a horror movie, and its atmosphere is far more threatening than the one found in Silence. -
Psychoanalytical Analysis on Hannibal Lecter and Buffalo Bill Characters As Seen in the Silence of the Lambs and Hannibal Rising by Thomas Harris
PSYCHOANALYTICAL ANALYSIS ON HANNIBAL LECTER AND BUFFALO BILL CHARACTERS AS SEEN IN THE SILENCE OF THE LAMBS AND HANNIBAL RISING BY THOMAS HARRIS. Panji Perdana Putra [email protected], 081270626773 English Department, Faculty of Humanities, Andalas University ABSTRAK Jurnal ini menjelaskan tentang analisis dua karakter dalam novel The Silence of the Lambs dan Hannibal Rising oleh Thomas Harris. Dua karakter ini memiliki perbedaan, namun juga sekaligus persamaan yang membuatnya menarik untuk dianalisis lebih jauh. Kedua karakter pembunuh berantai ini terlihat berbeda jika dilihat dari segi penokohan, Hannibal Lecter yang digambarkan sebagai karakter pembunuh yang canggih, sementara Buffalo Bill digambarkan sebagai karakter pembunuh berantai tradisional, analisis ini kemudian dibandingkan secara langsung untuk melihat bagaimana masing-masing karakter mengembangkan mentalnya setelah mengalami trauma masa kecil melalui analisis dengan menggunakan teori Psychoanalysis yang diperkenalkan oleh Sigmund Freud, dan teori Self Defense Mechanism yang dikenalkan oleh Anna Freud. Dalam teori Sigmund Freud dikemukakan bahwa ada tiga zona psikis manusia yang bekerja sama dalam membentuk tingkah laku manusia yang kompleks, yaitu Id, Superego, dan Ego. Dalam menganalisis karya ini digunakan metode penelitian kualitatif dengan menggunakan metode deskriptif. Hasil analisis yang didapatkan adalah bahwa, meskipun tokoh Hannibal Lecter dikategorikan sebagai pembunuh yang canggih, dan Buffalo Bill dikategorikan sebagai pembunuh tradisional. Tiap karakter menggunakan hasil pertahanan diri mereka tadi sebagai cara/alat untuk mencapai tujuan masing-masing. Kata kunci: psikoanalisis, mekanisme pertahanan diri, sublimasi, trauma ABSTRACT This research descibes about the analysis of the characters in The Silence of the Lambs and Hannibal Rising by Thomas Harris. These characters is very interesting to be analyze because they appeared the similarity in serial killer, and also the diffrences in style. -
King of Killers: the Criminological Theories of Hannibal Lector, Part
King of Killers: The Criminological Theories of Hannibal Lecter, Part One By J.C. Oleson Old Dominion University The public exhibits an insatiable appetite for crime, especially for serial murder. Serial killers are prominently featured in television programs, feature films, novels, and true crime books. But one serial killer remains our favorite: Dr. Hannibal “the Cannibal” Lecter. Thomas Harris’ enigmatic literary character – the American Film Institute’s number one villain of all time – has become a wildly successful franchise. The trilogy of Lecter novels has sold tens of millions of copies, and the four Lecter films have earned more than $838 million. Perhaps the character of Hannibal Lecter is so popular because, drawn from real-life serial killers, he fits several criminological models. Or perhaps Lecter is popular because he presents readers with a puzzle, encompassing contradictions, defying convenient categorization. Keywords: Hannibal Lecter; serial killer; cannibal CRIME AND POPULAR CULTURE: FIXATED BY VIOLENCE, FASCINATED BY MURDER “[T]hey love crime, every one loves crime, they love it always, not at some ‘moments.’” Dostoevsky, 1881/1949, p. 451 The public exhibits a seemingly insatiable appetite for crime (Hyatt, 1995). At any given moment, there is usually a movie about cops and killers playing at the local metroplex theater. Our airwaves are congested with primetime television programs about homicide detectives, sex offender units, and crime scene investigators. We clamor for taut psychological thrillers and we watch gory slasher films “through a pinkish shield of splayed fingers, … [allowing these thrillers to fill us] with mixed feelings of amazement and terror” (Hinson, 1993, p. -
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. -
Science & Technology
2014] PSYCHOPATHY & GENES IN CRIMINAL JUSTICE 375 T H E C O L U M B I A SCIENCE & TECHNOLOGY LAW REVIEW VOL. XV STLR.ORG SPRING 2014 NOTE † PSYCHOPATHY, GENES, AND THE CRIMINAL JUSTICE SYSTEM Paula Kim* This Note examines whether, and at which stages, a criminal defendant should be permitted to offer genetic evidence of a predisposition to psychopathy. Drawing on multidisciplinary sources, including the work of legal scholars, neurobiologists, psychologists, and medical researchers, the Note discusses psychopathy, its symptoms, and how it is measured, along with the proposed genetic and environmental causes of the disorder. The Note then examines current evidence rules and trends in the admissibility of genetic evidence at the guilt/innocence phase of criminal trials and at sentencing. After discussing the potential effects of admitting evidence of a genetic basis for psychopathy at both of these phases, the Note concludes that the stigmatizing nature of the disorder and the uncertainty over its causes make it inadvisable to admit this type of evidence at the guilt/innocence phase of trial. However, admitting this evidence at sentencing is not objectionable. TABLE OF CONTENTS I. Introduction ................................................................................ 376 II. Genetic Causes and Bases for Psychopathy ........................... 378 A. What Is Psychopathy? ...................................................... 378 B. Clinical Tools For Assessing Psychopathy ..................... 379 1. Psychopathy Checklist, Revised ......................... 379 † This article may be cited as http://www.stlr.org/cite.cgi?volume=15& article=10. This work is made available under the Creative Commons Attribution—Non-Commercial—No Derivative Works 3.0 License. * Paula Kim is a 3L at Columbia Law School. She has a B.A. -
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. -
210 "Naka-Choko" FINAL DRAFT 02/13/14 2
Executive Producer: Bryan Fuller Executive Producer: Martha De Laurentiis Executive Producer: Steve Lightfoot Executive Producer: Chris Brancato Consulting Producer: Jesse Alexander “Naka-choko! ” Teleplay by Steve Lightfoot! Story by Steve Lightfoot and Kai Yu! Wu Directed by Vincenzo! Natali Based on the characters created by Thomas !Harris ! ! ! ! ! Episode #210 Final Shooting Script PROPERTY OF: GAUMONT INTERNATIONAL TELEVISION LLC ©2014 CHISWICK PRODUCTIONS LLC. ALL RIGHTS RESERVED. NO PORTIONS OF THIS SCRIPT MAY BE PERFORMED, OR REPRODUCED BY ANY MEANS, OR QUOTED, OR PUBLISHED IN ANY MEDIUM WITHOUT THE PRIOR WRITTEN CONSENT OF GAUMONT INTERNATIONAL TELEVISION LLC. HANNIBAL "Naka-choko" TEASER WILL GRAHAM CAMERA PUSHES IN ON him as a look of realization washes across his features. We are -- INT. WILL GRAHAM'S HOUSE - LIVING ROOM - NIGHT Will stands in front of his window. WILL'S POV -- SLOW MOTION The BLACK STAG CRASHES THROUGH THE WINDOW. ON WILL He scrambles out of the way. THE BLACK STAG Lands in Will's living room, shaking glass off its ebony hide. The room is dark with shadow. It sees Will... AND CHARGES. CLOSE ON WILL as he tries to hold it back, but is driven backward to the wall. Its ANTLERS slam into the wall on either side of Will and pierce it. CAMERA reveals the black stag is now the MAN STAG. They are terrifyingly face to face for a moment. A man and his nemesis. And then Will -- HEAD-BUTTS the man stag, hard and sudden, in the face, and it staggers back as Will drives it to the ground. ON WILL GRAHAM He rains heavy blows on the man stag beneath him. -
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.