DECIPHERING HANNIBAL LECTER: SOCIOPATH Or SUPERHUMAN?
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Cinema 4 Journal of Philosophy and the Moving Image Revista De Filosofia E Da Imagem Em Movimento
CINEMA 4 JOURNAL OF PHILOSOPHY AND THE MOVING IMAGE REVISTA DE FILOSOFIA E DA IMAGEM EM MOVIMENTO PHILOSOPHY OF RELIGION edited by Sérgio Dias Branco FILOSOFIA DA RELIGIÃO editado por Sérgio Dias Branco EDITORS Patrícia Silveirinha Castello Branco (University of Beira Interior/IFILNOVA) Sérgio Dias Branco (University of Coimbra/IFILNOVA) Susana Viegas (IFILNOVA) EDITORIAL ADVISORY BOARD D. N. Rodowick (University of Chicago) Francesco Casetti (Università Cattolica del Sacro Cuore/Yale University) Georges Didi-Huberman (École des hautes études en sciences sociales) Ismail Norberto Xavier (University of São Paulo) João Mário Grilo (New University of Lisbon) Laura U. Marks (Simon Fraser University) Murray Smith (University of Kent) Noël Carroll (City University of New York) Patricia MacCormack (Anglia Ruskin University) Raymond Bellour (Centre national de la recherche scientifique/Université Sorbonne Nouvelle - Paris 3) Stephen Mulhall (University of Oxford) Thomas E. Wartenberg (Mount Holyoke College) INTERVIEWS EDITOR Susana Nascimento Duarte (IFILNOVA) BOOK REVIEWS EDITOR Maria Irene Aparício (IFILNOVA) CONFERENCE REPORTS EDITOR William Brown (University of Roehampton) ISSN 1647-8991 CATALOGS Directory of Open Access Journals The Philosopher’s Index PUBLICATION IFILNOVA - Nova Philosophy Institute Faculty of Social and Human Sciences New University of Lisbon Edifício I&D, 4.º Piso Av. de Berna 26 1069-061 Lisboa Portugal www.ifl.pt WEBSITE www.cjpmi.ifl.pt CINEMA: JOURNAL OF PHILOSOPHY AND THE MOVING IMAGE 4, “PHILOSOPHY OF RELIGION” Editor: Sérgio Dias Branco Peer reviewers: Ashish Avikuntak, Christine A. James, Inês Gil, João Constâncio, John Caruana, M. Gail Hamner, Mark Hanshaw, Melissa Conroy, Sérgio Dias Branco, Susana Nascimento Duarte, Susana Viegas, William Blizek Cover: The Silence (Tystnaden, 1963), dir. -
A Matter of Taste: Monstrosity, Consumption and Hannibal Lecter
ISSN 2319-5339 IISUniv.J.A. Vol.5(1), 1-9 (2016) A Matter of Taste: Monstrosity, Consumption and Hannibal Lecter Pramod K. Nayar Taste.The wine, the truffles. Taste in all things was a constant between Dr Lecter’s lives in America and Europe. Between his life as a successful medical practitioner and fugitive monster. (Hannibal 225) The monster, Jeffrey Jerome Cohen (1996: 7-12), among others, has proposed, is one who marks the outside, comes from an elsewhere. The monster is ‘not one of us’. He represents the limits of civilization and civility. Yet twentieth century’s most fascinating fictional monster, with his own cult following due to the TV series, is the very embodiment of civility and ‘high’ culture: Hannibal Lecter. Lecter, who makes his debut in Thomas Harris’ Red Dragon, finally gets to be the centrepiece of a series of horror-thrillers: TheSilence of the Lambs, Hannibal and Hannibal Rising. He is no alien or outsider though but rather, until he is caught, a Johns Hopkins Medical school graduate and respected clinical psychiatrist. LHM Ling notes: ‘Hannibal the Cannibal cannot remain an “alien” monster. He is, instead, a familiar, identifiable character: one of us. Put differently, the evil other now resides explicitly within’ (2004: 380, emphasis in original).Yet, Hannibal is unlike one of us for several reasons: he is a cannibal with a serious set of affectations, a man of supreme tastes in food, clothing, cars and drinks. He is extremely well-read in a wide variety of areas, from astronomy to gastronomy. He has an enviable knowledge of art and music. -
The Devniad Book 70C Un Zine De Bob Devney 25 Johnson Street, North Attleboro, MA 02760 U.S.A
The Devniad Book 70c un zine de Bob Devney 25 Johnson Street, North Attleboro, MA 02760 U.S.A. e-mail: [email protected] For APA:NESFA #369 February 2001 copyright 2001 by Robert E. Devney Orbita Dicta Heard in the Halls of [At Registration, bibliopole Art Henderson isn’t Boskone 38 relishing his weekend-long exile to the dealers’ room] Sheraton Framingham Hotel Write it up so I’ll know what I missed. Framingham, Massachusetts, U.S.A. February 16-18, 2001 [My precisionista bro-in-law Bob Kuhn driving home from dinner Friday night, on Bertucci’s So you must know the drill by now, being listed in the Boskone Restaurant Guide as people. I go to a science fiction con, listen to 4.3 miles from the hotel while Bennigan’s right what people say, take mostly illegible notes, across the street is listed at 4.4] and fake them I mean write them up for I’ll excuse the possibility of error. It’s you. [My comments on each quote are in inconsistency I can’t stand. brackets a lot like these.] This time, there were on hand an [At the panel on Anime and Manga (which unusual number of my spies, who do the starts with few attendees not including Alice same thing not quite so obsessively. Lewis, who was stuck in traffic until the last 10 Without blowing their cover, let’s just say minutes of the panel), fan Christine Carpenito I’d like to thank Darcy Devney, Bob Kuhn, surveys the scene] James Marshall, Sarah O’Connor, and Mark Right in Cambridge, we’ve got anime at Mandel. -
Autoerotic Asphyxia and Asphyxial Games As Part of the Same Syndrome Andrés Rodríguez Zorro
Unintentional Asphyxial Deaths in Adolescence Autoerotic Asphyxia and Asphyxial Games as Part of the Same Syndrome Andrés Rodríguez Zorro William Harvey Research Institute MSc in Forensic Medical Sciences Unintentional Asphyxiation Deaths in Adolescents: Autoerotic asphyxia and asphyxial games as part of the same syndrome Forensic Pathology Andrés Rodríguez Zorro Student ID: 100511332 Monday, September 3th, 2012 Supervisor: Professor Peter Vanezis Word count: 19.575 Dissertation submitted to Queen Mary University of London in partial Fulfillment of the requirements for the Master of Science degree Beneficiario Colfuturo 2011. Unintentional Asphyxial Deaths in Adolescence Autoerotic Asphyxia and Asphyxial Games as Part of the Same Syndrome Andrés Rodríguez Zorro CONTENTS LISTE OF TABLES 3 ACKNOWLEDGMENTS 4 1.0 ABSTRACT 5 2.0 METHOD OF UNDERTAKING THE LITERATURE SEARCH 6 3.0 INTRODUCTION 7 3.1 Definition of autoerotic asphyxia 7 3.2 Definition of asphyxial games 8 3.3 History 9 3.4 Neurophysiology of neck compression asphyxias 12 3.5 Characteristics of autoerotic asphyxiation 16 3.6 Characteristics of asphyxial games 18 3.7 Aims 21 4.0 RESULTS 4.1 Who plays asphyxial games 23 4.2 Who are the victims of autoerotic asphyxia in general population 28 4.3 Who are the victims of autoerotic asphyxiation in adolescence 32 4.4 Who are the victims of asphyxial games 36 4.5 Comparative analysis of asphyxial games and autoerotic asphyxia 41 5.0 DISCUSSION 5.1 Etiologic theories 44 5.2 Sociological view: the ordeal or radical confrontation with death 46 5.3 Confrontation with risk in adolescence 48 5.4 Childhood rope syndrome 51 5.5 Part of same syndrome 52 5.6 Risk of death 61 5.7 Limitations 63 5.8 Recommendations 65 6.0 REFERENCES 67 Beneficiario Colfuturo 2011. -
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. -
Trinity Tripod, 2001-02-13
VOL. XCIX NO. 15 PUBLISHED BY THE STUDENTS OF TRINITY COLLEGE SINCE 1904 FEBRUARY 13,2001 Second On Campus Mugging in Two Weeks BY KRISTIN POWELL down his arms, pointed a gun at his head, and demanded the student's wallet. He told the suspect that he did not have a wallet, and was forced to empty his For the second consecutive week, a pockets. The suspect took what is esti- Trinity College student was mugged at mated at four dollars, pushed Fadrhonc gunpoint. On Sunday, February 12 at to the ground, and ran off in the direc- 3:08am Adrian Fadrhonc '02 called tion of the new Admissions Building Campus Safety from his room injackson construction site. Hall to notify officers that he had been Commenting on the attack Fadrhonc mugged on the path between the Smith said, "It's all sort of a blur of events. House and the President's house. Whenever someone puts a gun to your Fadrhonc had reportedly left AD at head, you don't think very rationally." approximately 2:50am when three Cam- A Hartford Police officer had been pa- pus Safety officers broke up an unregis- trolling the Vernon Street area at the time tered party, clearing out nearly 100 of the attack. He reported to the scene COURTESYOFWWW.TRINCOLL.EDU students, according to Charlie Morris, immediately following the student's re- Smith House. Bushes where attacker hid are at far left. Director of Campus Safety. He was ac- port assisted by an officer manning Cres- Fadrhonc's call was the only one made ment, was unable to provide further in- costed by a black male, who jumped out cent Street. -
207 "Yakimono" FINAL DRAFT 01/03/14 2
Executive Producer: Bryan Fuller Executive Producer: Martha De Laurentiis Executive Producer: Steve Lightfoot Executive Producer: Chris Brancato Consulting Producer: Jesse Alexander “Yakimono! ” Written by Steve Lightfoot and Bryan !Fuller Directed by Michael! Rymer ! Based on the characters created by Thomas !Harris ! ! ! ! ! Episode #207 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 "Yakimono" TEASER FADE UP FROM BLACK TO -- A wash of red and blue light over tire prints in snow. A pair of heavy boots crosses them, obliterating the prints. We are -- EXT. VIRGINIA BARN - NIGHT A nascent crime scene. Work lights and flashing neons. COPS' and FBI AGENTS' breath frosting the cold air. An AMBULANCE is exiting. It drives toward us, revolving lights FILL FRAME. CAMERA finds JACK CRAWFORD standing alone, haunted, watching the ambulance drive away. CLOSE ON MIRIAM LASS She is -- INT. BAU - EXAMINATION ROOM - NIGHT She stands on a white sheet, wearing a paper gown, stoic, as TECHNICIANS move around her, combing and tweezing for evidence. Fibers, hairs, saliva, etc. (Essentially doing a SAFE kit protocol: Sexual Assault Forensic Evidence.) CLOSE-UPS -- scissors snip a HAIR SAMPLE. Miriam stares forward. Opens her mouth as a SWAB is taken. Over this, we HEAR a phone recording: MIRIAM LASS (V.O.) Jack, Jack... Jack, it's Miriam. I don't know where I am. I can't see anything.. -
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. -
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. -
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. -
A Cannibal's Sermon: Hannibal Lecter, Sympathetic Villainy and Moral Revaluation
CINEMA 4! 184 A CANNIBAL’S SERMON: HANNIBAL LECTER, SYMPATHETIC VILLAINY AND MORAL REVALUATION Aaron Taylor (University of Lethbridge) If one does as God does enough times, one becomes as God is. — HANNIBAL LECTER in Manhunter (1986) A commonplace truism is that horror cinema provides a valuable — if not slightly risqué — opportunity for viewers to traffic in the perverse and the taboo. Specifically, one of horror’s signature pleasures is its eagerness to give the devil his due. The monstrous, psychopathic, and altogether villainous are permitted to take center stage, and not always in the interests of the kind of homiletic instruction that is so instrumental to the melodramatic tradition. In- stead, horror’s distinct appeal is its promotion of our so-called identification with morally compromised, if not downright evil, characters. In an influential essay on our attachment to despicable individuals, Murray Smith advances the concept of perverse allegiance to describe our strange readiness to form sympathetic engagements with villainous fictional individuals. But unlike Smith — and many other aesthetic philosophers who have treated on the problem of attractive evil in fiction — I would like to advance the notion that viewers might occasion- ally form perverse allegiances with villainous characters in horror cinema because of — and not in spite of — their abhorrent natures.1 It is profitable to consider the problem of perverse allegiance in horror cinema as a kind of moral paradox. Phrased as a question, we might ask how is it that we come to form an allegiance with an immoral individual, especially given the prohibitions against condon- ing behaviour one knows to be despicable? Breaking this paradox into three independently valid but collectively conflicting premises, it is understood: 1) that a viewer feels sympathy for a character; 2) that the character in question is immoral; and 3) that the viewer ought not to sympa- thize with an immoral individual. -
THE PILLAR a MONTHLY JOURNAL of the Trio SSS COMMUNITY “Helping Students Realize Their Full Potential”
THE PILLAR A MONTHLY JOURNAL OF THE TRiO SSS COMMUNITY “Helping Students Realize Their Full Potential” December 2020 Student Spotlight— Valerye Godoy ISSUE The TRIO Student Support Services program would like Page Guide to highlight Valerye Godoy. Valerye is a Biology major who will be graduating spring 2021. She was asked about Page 1 her experience in college and stated that her experience has been unique looking back. She noted, “It has gone by • Student Spotlight really fast. I always knew I wanted to be a veterinarian. In Page 2 high school, I became a veterinary assistant and started working at a veterinary clinic full-time. This clinic was my • Spotlight Continued dream job, when I began working there I made a promise to myself that I would work there full-time the entire time I Page 3 was in college until I was accepted to veterinary school (so far I have kept this promise 5 years later). I knew that • Relaxation Techniques I needed to earn an undergraduate degree if I wanted to • Kudos become a Veterinarian, so I began my journey at the Community College of Denver back in 2015 and was Page 4 accepted to CU Denver in 2016. Being a first-generation college student and not having any friends at school, it • Goal Setting—New Year was difficult to navigate student loans, class schedules, and extracurricular activities. For the first two • Movie Review years, I really did not know what I was doing but I somehow managed to slowly get by. I also did not know Page 5 how to apply for loans or grants, so I paid for school out of pocket for a while (that was stressful).