British Serial Killing: Towards a Structural Explanation
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October 2012 Highlights Documentaries
OCTOBER 2012 HIGHLIGHTS ** Denotes programs with artwork available on Investigation Discovery’s Press Website All Times ET // All airdates are subject to change INVESTIGATION DISCOVERY PRESS CONTACTS: Jordyn Linsk Charlotte Bigford Publicist Publicist 240-662-2421, [email protected] 240-662-3125, [email protected] DOCUMENTARIES ID FILMS: TELLING AMY’S STORY ** TV-PG (V) One-Hour Documentary Premieres Monday, October 8 at 7 PM ET By laying bare one woman's story and the many opportunities to alter its outcome, this October, Investigation Discovery commemorates Domestic Violence Awareness Month in the hope of educating, empowering, and even saving lives. On November 8, 2001, Amy Homan McGee was killed by her abusive husband of four years while her children waited outside in the car. Hosted by actress and advocate Mariska Hargitay, and told by Detective Deirdri Fishel, TELLING AMY’S STORY follows the timeline of the tragic domestic violence homicide that occurred in central Pennsylvania. The victim’s parents and co-workers, law enforcement officers, and court personnel share their perspectives on what happened to Amy in the weeks, months, and years leading up to her death. ID FILMS: WERNER HERZOG'S INTO THE ABYSS: A TALE OF LIFE, A TALE OF DEATH ** TV-14 Feature-Length Documentary Makes Its World TV Premiere on Tuesday, October 23 at 8 PM ET Werner Herzog’s INTO THE ABYSS debuted in September 2011 to rave reviews and festival buzz from Telluride to Toronto. Exploring the intricate details and emotional aftermath of a triple homicide in Conroe, Texas, Herzog sought to better understand the impact of life in prison and the shattering effects of the death penalty. -
A Sheffield Hallam University Thesis
Taboo : why are real-life British serial killers rarely represented on film? EARNSHAW, Antony Robert Available from the Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/20984/ A Sheffield Hallam University thesis This thesis is protected by copyright which belongs to the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Please visit http://shura.shu.ac.uk/20984/ and http://shura.shu.ac.uk/information.html for further details about copyright and re-use permissions. Taboo: Why are Real-Life British Serial Killers Rarely Represented on Film? Antony Robert Earnshaw Sheffield Hallam University MA English by Research September 2017 1 Abstract This thesis assesses changing British attitudes to the dramatisation of crimes committed by domestic serial killers and highlights the dearth of films made in this country on this subject. It discusses the notion of taboos and, using empirical and historical research, illustrates how filmmakers’ attempts to initiate productions have been vetoed by social, cultural and political sensitivities. Comparisons are drawn between the prevalence of such product in the United States and its uncommonness in Britain, emphasising the issues around the importing of similar foreign material for exhibition on British cinema screens and the importance of geographic distance to notions of appropriateness. The influence of the British Board of Film Classification (BBFC) is evaluated. This includes a focus on how a central BBFC policy – the so- called 30-year rule of refusing to classify dramatisations of ‘recent’ cases of factual crime – was scrapped and replaced with a case-by-case consideration that allowed for the accommodation of a specific film championing a message of tolerance. -
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 -
Male and Female Murderers in Newspapers: Are They Portrayed Differently?
Male and female murderers in newspapers: Are they portrayed differently? Bethany O’Donnell Email: [email protected] Abstract This research aims to identify any similarities and differences in the reporting of male and female murderers in broadsheet and tabloid newspapers. In order to gain a stronger insight into the issue, two case studies have been selected, one male and one female. Through the method of thematic analysis, this article examines how the female serial murderer Joanna Dennehy was represented compared with the male serial murderer Stephen Griffiths in a selection of articles from national newspapers. During this process, reoccurring themes were discovered that are discussed in the analysis. These themes are ‘labelling’ and ‘blaming others’. ‘Labelling’ is divided into sub- themes of ‘mental illness’ and ‘sexualisation and de-humanisation’. The aforementioned themes are discussed in the analysis. It was found that the gender of a serial murderer does dictate how they are portrayed in tabloid newspapers. This is also true for broadsheet newspapers to a lesser extent. For example, this research shows that Joanna Dennehy is represented as mentally ill, whereas this is not as prominent for Stephen Griffiths, despite him committing similar acts. Furthermore, Dennehy is de-humanised in both types of newspaper, although to a greater degree in tabloid newspapers. It was discovered that Griffiths was not subjected to the same de-humanisation. These findings concur with previous research outlined in the literature review, though the themes mentioned in the discussion do not occur as blatantly as some researchers suggest they do for other female murderers in the media. -
Stories of Women's Fear During the 'Yorkshire Ripper' Murders Louise
Exploring Gender and Fear Retrospectively: Stories of Women’s Fear during the ‘Yorkshire Ripper’ Murders Louise Wattis* Department of Criminology, School of Social Sciences and Law, Teesside University, United Kingdom Clarendon Building Teesside University Borough Road Middlesbrough, United Kingdom Ts5 6ew (44) 1642 384463 [email protected] Ackn: N CN: Y Word count: 9103 Exploring Gender and Fear Retrospectively: Stories of Women’s Fear during the ‘Yorkshire Ripper’ Murders Abstract The murder of 13 women in the North of England between 1975 and 1979 by Peter Sutcliffe who became known as the Yorkshire Ripper can be viewed as a significant criminal event due to the level of fear generated and the impact on local communities more generally. Drawing upon oral history interviews carried out with individuals living in Leeds at the time of the murders, this article explores women’s accounts of their fears from the time. This offers the opportunity to explore the gender/fear nexus from the unique perspective of a clearly defined object of fear situated within a specific spatial and historical setting. Findings revealed a range of anticipated fear-related emotions and practices which confirm popular ‘high-fear’ motifs; however, narrative analysis of interviews also highlighted more nuanced articulations of resistance and fearlessness based upon class, place and biographies of violence, as well as the way in which women drew upon fear/fearlessness in their overall construction of self. It is argued that using narrative approaches is a valuable means of uncovering the complexity of fear of crime and more specifically provides renewed insight onto women’s fear. -
Cultural Representations of the Moors Murderers and Yorkshire Ripper Cases
CULTURAL REPRESENTATIONS OF THE MOORS MURDERERS AND YORKSHIRE RIPPER CASES by HENRIETTA PHILLIPA ANNE MALION PHILLIPS A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of Modern Languages School of Languages, Cultures, Art History, and Music College of Arts and Law The University of Birmingham October 2016 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Abstract This thesis examines written, audio-visual and musical representations of real-life British serial killers Myra Hindley and Ian Brady (the ‘Moors Murderers’) and Peter Sutcliffe (the ‘Yorkshire Ripper’), from the time of their crimes to the present day, and their proliferation beyond the cases’ immediate historical-legal context. Through the theoretical construct ‘Northientalism’ I interrogate such representations’ replication and engagement of stereotypes and anxieties accruing to the figure of the white working- class ‘Northern’ subject in these cases, within a broader context of pre-existing historical trajectories and generic conventions of Northern and true crime representation. Interrogating changing perceptions of the cultural functions and meanings of murderers in late-capitalist socio-cultural history, I argue that the underlying structure of true crime is the counterbalance between the exceptional and the everyday, in service of which its second crucial structuring technique – the depiction of physical detail – operates. -
“Dead Cities, Crows, the Rain and Their Ripper, the Yorkshire Ripper”: the Red Riding Novels (1974, 1977, 1980, 1983) of David Peace As Lieux D’Horreur ______
International Journal of Criminology and Sociological Theory, Vol. 6, No.3, June 2013, 43-56 “Dead Cities, Crows, the rain and their Ripper, The Yorkshire Ripper”: The Red Riding Novels (1974, 1977, 1980, 1983) of David Peace as Lieux d’horreur ________________________________________________________________________ Martin S. King1 Ian D. Cummins2 Abstract This article explores the role and importance of place in the Red Riding novels of David Peace. Drawing on Nora’s (1989) concept of Lieux de mémoire and Rejinders’ (2010) development of this work in relation to the imaginary world of the TV detective and engaging with a body of literature on the city, it examines the way in which the bleak Yorkshire countryside and the city of Leeds in the North of England, in particular, is central to the narrative of Peace’s work and the locations described are reflective of the violence, corruption and immorality at work in the storylines. While Nora (1984) and Rejinders (2010) describe places as sites of memory negotiated through the remorse of horrific events, the authors agree that Peace’s work can be read as describing L’ieux d’horreur; a recalling of past events with the violence and horror left in. Introduction Pierre Nora’s (1989) concept of Lieux de mémoire examines the ways in which a “rapid slippage of the present into a historical past that is gone for good” (Nora, 1989:7) is compensated for by the focus of memory on particular physical spaces. Nora (1989) outlines an idea of a modern world obsessed with the past and in search of roots and identity that are fast disappearing, a loss of collectively remembered values replaced by a socially constructed version of history as a representation of the past. -
The Expressive/Transformative Process of Violence Lee Mellor A
I Kill, Therefore I Am: The Expressive/Transformative Process of Violence Lee Mellor A Thesis In the Individualized Program Presented in Partial Fulfillment of the Requirements For the Degree of Doctor of Philosophy (Individualized Program) at Concordia University Montreal, Quebec, Canada July 2018 ©Lee Mellor, 2018 !"#!"$%&'()#&*+$,&-.( ,!/""0("1(2$'%)'-+(,-)%&+,! This is to certify that the thesis prepared By: Lee Mellor Entitled: I Kill, Therefore I Am: The Expressive Transformative Theory of Violence and submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Individualized program (INDI)) complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final examining committee: "#$%&! '&(!"#$&)*+!,*%++! !-./*&0$)!-.$1%0*&! '&(!2$&%0$!34&45#%0+6%! !-./*&0$)!/4! 7&48&$1! '&(!9&*8!:%*)+*0! !-.$1%0*&! '&(!-&%5!;%56*<! !-.$1%0*&! '&(!=1<!3>%??*0! -.$1%0*&! !'&(!@%A*6!@*06$/*+#! B#*+%+!3CD*&A%+4&! '&(!E*$0F,45#!G$C&*05*! =DD&4A*H!I<! '&(!,$5#*)!J*&8*&K(9&$HC$/*!7&48&$1!'%&*5/4&! !'*5*1I*&!LK!MNOP! '&(!7$C)$!Q44HF=H$1+K!'*$0! !35#44)!4?!9&$HC$/*!3/CH%*+ Abstract I Kill, Therefore I Am: The Expressive/Transformative Process of Violence Lee Mellor, Ph.D. Concordia University, 2018 Before the late-Industrial age, a minority of murderers posed their victims’ corpses to convey a message. With the rise of mass media, such offenders also began sending verbal communications to journalists and the authorities. Unsurprisingly, the 21st century has seen alienated killers promote their violent actions and homicidal identities through online communications: from VLOGs to manifestos, even videos depicting murder and corpse mutilation. -
Unmasking Serial Murder
UNMASKING SERIAL MURDER: A COMPARISON OF A SOUTH AFRICAN MURDER SERIES WITH CHARACTERISTICS FROM THE FEDERAL BUREAU OF INVESTIGATION SERIAL MURDER DATABASE Dr Shakeera Holland Student number: 0405598T Staff number: 00300468 A research report submitted to the Faculty of Health Sciences, University of the Witwatersrand, Johannesburg, in partial fulfilment of the requirements for the degree Master of Medicine in Forensic Pathology and Medicine. Johannesburg 2015 DECLARATION I Shakeera Holland declare that this research report is my own work. It is being submitted for the degree Master of Medicine in Forensic Pathology and Medicine in the University of the Witwatersrand, Johannesburg. It has not been submitted before for any degree or examination at this or any other University. …………………………………… Dr S Holland Date: 14 May 2015 ii DEDICATION TO MY FAMILY: My parents, for always leading by example and inspiring me to achieve. My husband, for supporting me through this process – without you, I would not have been able to finish. My children, who are my inspiration too always be my best so I can lead by example. iii ABSTRACT The term ‘serial killer’ brings to mind notorious criminals whose crimes are so heinous as to test the limits of the most vivid imagination and make us question their humanity. What is the reality of serial murder? In 2005, the Federal Bureau of Investigation (FBI) hosted a symposium on serial murder, which brought together international experts in the field of serial murder with the aim of clarifying and understanding this multifarious crime. On the 12th of March 2008, Gcinumzi Richman Makhwenkwe, ‘The Moffat Park Serial Murderer’ was convicted of 5 counts of murder, 3 counts of rape and 3 counts of robbery with aggravating circumstances. -
Necrophilia: a Study of the Psychoanalysis in the Characteristics of the Offenders Who Sexually Molest the Dead
DOI Number: 10.5958/0974-1283.2019.00136.1 Necrophilia: A Study of the Psychoanalysis in the Characteristics of the Offenders Who Sexually Molest the Dead Anand Kumar Vasudevan1, Prashanthi Krishna Dharma2, L. Eccleston3 1Professor and Head, 2Assistant Professor, Department of Forensic Medicine, Sri Muthukumaran Medical College Hospital and Research Institute, Mangadu, Chennai, India, 3Ex-Coordinator, Forensic Psychology Program, University of Melbourne, Australia Abstract Deviance, then may be considered one of the facts of social life. Almost all people, one may be sure, can recall some act of deviance from their own experience, they have committed either knowingly or unknowingly. This paper deals chiefly with the psychoanalysis in the characteristics of one particularly macabre sexual disorder – Necrophilia. Necrophilia, which is the erotic attraction to or obsessive fascination with death and corpses8, as far as we know is the rarest of all the perversions, nevertheless it expresses succinctly a facet of the perverse strategy that is common to all perversions. In its larger meaning this perversion is about the deadening and dehumanization of otherwise humanly alive and therefore threateningly dangerous or unpredictable desires. Especially alarming are those who murder to obtain a body for subsequent sexual violation (e.g. Dennis Nilsen). Researchers dealing with this study on necrophilia have conducted their investigations by psychoanalytic approach of the existing literature and an aggregation of data from the case histories to draw generalizations of the typology of the characteristics of these necrophiliacs. Keywords: Necrophilia, Psychoanalysis, Characteristics Introduction who we are and how we define ourselves and evolve sexually. Sexuality, whether one like it or not, is a major What sets us apart as human beings is our level of part of our psyche. -
Why Are Real-Life British Serial Killers Rarely Represented on Film?
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Sheffield Hallam University Research Archive Taboo : why are real-life British serial killers rarely represented on film? EARNSHAW, Antony Robert Available from Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/20984/ This document is the author deposited version. You are advised to consult the publisher's version if you wish to cite from it. Published version EARNSHAW, Antony Robert (2017). Taboo : why are real-life British serial killers rarely represented on film? Masters, Sheffield Hallam University. Copyright and re-use policy See http://shura.shu.ac.uk/information.html Sheffield Hallam University Research Archive http://shura.shu.ac.uk Taboo: Why are Real-Life British Serial Killers Rarely Represented on Film? Antony Robert Earnshaw Sheffield Hallam University MA English by Research September 2017 1 Abstract This thesis assesses changing British attitudes to the dramatisation of crimes committed by domestic serial killers and highlights the dearth of films made in this country on this subject. It discusses the notion of taboos and, using empirical and historical research, illustrates how filmmakers’ attempts to initiate productions have been vetoed by social, cultural and political sensitivities. Comparisons are drawn between the prevalence of such product in the United States and its uncommonness in Britain, emphasising the issues around the importing of similar foreign material for exhibition on British cinema screens and the importance of geographic distance to notions of appropriateness. The influence of the British Board of Film Classification (BBFC) is evaluated. This includes a focus on how a central BBFC policy – the so- called 30-year rule of refusing to classify dramatisations of ‘recent’ cases of factual crime – was scrapped and replaced with a case-by-case consideration that allowed for the accommodation of a specific film championing a message of tolerance. -
QX London Gay History
QX 596 MASTER PT.1 24/7/06 12:07 pm Page 10 qx FEATURE Eros On Piccadilly - so named after the Greek god of love because it was notoriously surrounded by hookers Soho Square in 1816 Starting this week, QX traces the history of London’s gay ghettos - North, South, East, West and Central. This week... WESTWhat’s made Central London such a magnetEND for gay men for 300 years?BOYS HAYDON BRIDGE reveals all… IF you’re not doing anything one Sunday, you Lane, Holborn, was raided in 1726. (Although www.pinkuk.com and a recent posting reads, can take a tour of historic gay Soho courtesy of this area was swept away long ago, it’s now “I’m a Special for the Royal Parks Unit for the Kairos. But it’s a bit of a cheat. Although today occupied by the London School of Economics, Metropolitan Police. We only visit the cruising it’s camper than Jordan’s and Cheryl Tweedy’s which hosts the gay Latino club Exilio). area to deter the criminals. If you get robbed, weddings put together, Soho has been gay for Prosecutions, and indeed executions, of gay please report it. We will be discreet and you only twenty years. The surrounding vicinity, men did little to deter others. In A View of will be treated sensitively.” however, is another matter. British gay life as Society and Manners in High and Low Life Historian Matt Cook says that it was the con- we know it began in London’s West End 300 (1781), writer George Parker deplored the struction of the railways, from 1837 to 1876, years ago, and virtually every significant event men “who signal to each other in St James’ that brought about the next advance in gay in British gay history ever since has occurred Park, and then retire to satisfy a passion too society.