by Wan, Rosa. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1999. / Includes bibliographical references (leaves 118-127). / Abstracts in English and Chinese. / Abstract --- p.i / Table of Contents --- p.v / Acknowledgments --- p.vi / Chapter Chapter One --- Introduction: The Empire of the Serial Killers --- p.1 / Chapter Chapter Two --- Stereotyping in Serial Killer Movies and Bestsellers --- p.26 / Chapter Chapter Three --- Inter-serial-textuality --- p.68 / Chapter Chapter Four --- Controversies --- p.103 / Conclusion --- p.113 / Works Cited --- p.118 / Appendix --- p.128

In an intersectional feminist analysis of Dexter in both the novels by Jeff Lindsay as well as the Showtime television series, this dissertation will explore the challenging but compelling nature of the serial killer as a pop culture icon, and address themes of gender and sexuality as well as class, ethnicity and regions as they are portrayed in the series. Dexter Morgan, on the Showtime series and in the novels, both exposes popular culture’s problematic identification with the serial killer and solidifies it by being a socially palatable anti-hero. / Includes bibliography. / Dissertation (Ph.D.)--Florida Atlantic University, 2019. / FAU Electronic Theses and Dissertations Collection

University of Macau / Faculty of Social Sciences / Department of Sociology

The focus of this thesis is the examination of whiteness as a dominant identity and subject position. Whiteness has conventionally assumed a normative, monolithic status as the template of humanity. Recent theorising has attempted to specify and denaturalise whiteness. In order to participate in this fracturing of whiteness, I analyse examples in which it functions as a site of contested and ambiguous contradiction. To this end, I use contemporary monstrosity to examine whiteness. Monstrosity is a malleable and culturally specific category of difference that measures alterity, and by displaying discursive functions in an extreme form offers insight into the ways in which deviance and normativity operate. I argue that the conjunction of whiteness and monstrosity, through displaying whiteness in a negative register, depicts some of the discursive operations that enable whiteness to attain such hegemonic dominance. I deploy theories of marginalisation and subjectivation drawn from a variety of feminist, critical race, and philosophical perspectives in order to further an understanding of the discursive operations of hegemonic and normative subject positions. I offer a brief history and overview of both the history and prior conceptualisations of monstrosity and whiteness, and then focus on two particular examples of contemporary white monstrosity. I closely examine the representation of monstrosity in serial killer films. The figure of the serial killer is typically a white, heterosexual, middle class male whose monstrosity is implicitly reliant upon these elements. In my discussion of the recent phenomenon of fatal shootings at high schools in North America, I investigate the way the massacre at Columbine High School functions as the public face of the phenomenon and for the unique interest it generated in the mass media. I focus on a Time magazine cover that featured a photograph of the adolescent perpetrators under the heading The Monsters Next Door, which condensed and emblematised the tension that they generated. It is through the perpetrators uneasy occupation of dual subject positions???namely the unassuming all American boy and the contemporary face of evil???that their simultaneous representation as average and alien undermines the notion of whiteness as neutral and invisible.

The focus of this thesis is the examination of whiteness as a dominant identity and subject position. Whiteness has conventionally assumed a normative, monolithic status as the template of humanity. Recent theorising has attempted to specify and denaturalise whiteness. In order to participate in this fracturing of whiteness, I analyse examples in which it functions as a site of contested and ambiguous contradiction. To this end, I use contemporary monstrosity to examine whiteness. Monstrosity is a malleable and culturally specific category of difference that measures alterity, and by displaying discursive functions in an extreme form offers insight into the ways in which deviance and normativity operate. I argue that the conjunction of whiteness and monstrosity, through displaying whiteness in a negative register, depicts some of the discursive operations that enable whiteness to attain such hegemonic dominance. I deploy theories of marginalisation and subjectivation drawn from a variety of feminist, critical race, and philosophical perspectives in order to further an understanding of the discursive operations of hegemonic and normative subject positions. I offer a brief history and overview of both the history and prior conceptualisations of monstrosity and whiteness, and then focus on two particular examples of contemporary white monstrosity. I closely examine the representation of monstrosity in serial killer films. The figure of the serial killer is typically a white, heterosexual, middle class male whose monstrosity is implicitly reliant upon these elements. In my discussion of the recent phenomenon of fatal shootings at high schools in North America, I investigate the way the massacre at Columbine High School functions as the public face of the phenomenon and for the unique interest it generated in the mass media. I focus on a Time magazine cover that featured a photograph of the adolescent perpetrators under the heading The Monsters Next Door, which condensed and emblematised the tension that they generated. It is through the perpetrators uneasy occupation of dual subject positions???namely the unassuming all American boy and the contemporary face of evil???that their simultaneous representation as average and alien undermines the notion of whiteness as neutral and invisible.

Thesis (M.A.). / Written for the Dept. of Art History and Communication Studies. Title from title page of PDF (viewed 2008/03/12). Includes bibliographical references.

Thesis (MA (Psychology))--University of Pretoria, 2004. / Includes bibliography.

Public perceptions about serial homicide are more mythical than fact. Myths about serial homicide are perpetuated through several sources, especially the entertainment media which is a dominant and influential mythmaker. The number of films depicting serial killers and serial killing themes has increased dramatically in recent years. However, the reality of these films is debatable. This research examines the reality, or lack thereof, of the most recent films involving a serial killing theme. Hickey provides a wealth of statistical information on a number of serial killers and serial killings. A content analysis of the fifty top grossing serial killer movies made between 1980 and 2001 was conducted using variables from Hickey research. Research shows similarities and differences between variables, however, results concludes the entertainment media does not accurately portray serial homicide.

A sample (N = 428) of university students was introduced to a stranger that fit the public persona of either John Wayne Gacy or Ted Bundy in a vignette. The meetings between students and strangers in vignettes were similar to those in which serial killers might entrap victims. In addition to varying criminal type (Gacy or Bundy), the race and gender of the strangers were also varied in the 2 x 2 x 2 experiment. Differences among subjects in their ratings of personality traits of the strangers and how subjects expected to behave toward these persons were examined by ANOVA. Focus group discussions provided further insights about how individuals size up and react to "respectable" strangers who fit the public personas of well-known serial killers. Results suggested that young adults in the 1990s are highly vulnerable to victimization by serial murderers. / Department of Sociology

This study focuses on the role of media portrayal and coverage in serial killing. The first objective of the study is to develop a conceptual structure that aids in the understanding of the cyclical relationship between media, serial killer, and audience. The media acts as a catalyst in this relationship, providing the stage on which serial killer and audience form a fatal relationship in which celebrity status forms the ultimate motivation. Media sensationalism of serial killing and the extreme glamorization in fictional representations has obviously negative consequences. In developing such a structure I hope to demonstrate that there is an alternative to the sensationalizing and glamorizing of serial killers in the media. This alternative will take the form education and a more documentary-style approach to films about serial murder. The study focuses mainly on developing a theoretical framework that emphasizes each of the three elements of the cyclical relationship mentioned above separately. The second chapter is devoted to the media and its role. The third chapter focuses on serial killers and the motivations involved. The fourth chapter deals with the audience attracted to serial killing as a source of identification. A number of thinkers’ work is used in coming to grips with this relationship, including both American and South African authors. The fifth and final chapter takes into consideration the moment of application by addressing the South African situation. I conclude by discussing the repercussions of media glamorization and possible documentary-style alternatives.