This contribution proposes to give an account of the succession of confinements experienced by a serial killer who was essentially presented and represented as the typical vagabond, a great walker ...and free to move about, perpetuating a “bloody odyssey”. Joseph Vacher (1869-1898) nevertheless experienced the main institutions of confinement at the end of the 19th century: school, religious congregation, barracks, asylum and prison. How did he experience them and what role did these experiences play in his perception of the world? Secondly, we will ask to what extent these confinements contributed, after Vacher’s arrest, to the reflection on the motives for his act? In conclusion, we will point out the difficulty of accessing the subjectivity of our objects of study because this approach implies, for the historian, a return to oneself and a deconstruction of transmitted memories.
This is a study of emotional responses as expressed in user-generated content at International Movie Database (IMDb) concerning the 2022 series Dahmer – Monster: The Jeffrey Dahmer Story. The series ...has triggered vehement emotional reactions. The theoretical point of departure for examining 679 reviews of this series is a phenomenon called kama muta (Sanskrit for “moved by love”), an experience of being deeply moved or touched by something amiable. Kama muta is an intense and elevating feeling of communal sharing (Fiske 2020). This article proposes kama pida (Sanskrit for “moved by pain”) as a term for the opposite feeling. Kama pida is on the very “dark side” of the emotional spectrum. It is a multivalent emotion accompanied by bodily reactions or embodied experiences. The emotion of kama pida is in most cases expressed by metaphors concerning the stomach, the nerves, the heart, breathing, and other bodily functions, but also by more cognitive/mental reactions like the experience of being very stressed, seeing a nightmare, or sharing in a trauma. The affective content of kama pida concerns the utterly unspeakable experience of horror, but is all the same expressed by the reviewers of the Netflix series about the serial killer Jeffrey Dahmer.
In 2018 the Bruce McArthur serial killer case became the largest forensic homicide investigation in Toronto, Canada’s history. Victims of serial killers tend to be portrayed negatively by newspapers ...because they often embody stigmatized identities. However, this research asks, How do newspapers frame victims who belong in between marginalized and liberated identities? Under the frameworks of post-gay and intersectionality theory, the identities of many of McArthur’s victims reflect an opportunity to analyze how serial killer victims are puzzlingly framed by newspapers. Through an analysis of 277 articles in three major Canadian newspapers, the Toronto Star, the Globe and Mail, and the National Post, findings show that the framing of victims through textual accounts as nonpartisan is discrepant with their negative visual representations. While newspapers tend to simply frame these victims as belonging to Toronto’s gay village without layering stigma around queerness onto them explicitly, most articles provide close-ups, passport photos, and occasionally mugshots of victims, ultimately portraying them in undesirable ways. This inconsistent framing between textual description and image selection highlights the important role photos, activists, and non-profits can play when featured or quoted in newspapers as they can humanize and dignify victims in the absence of family or friends to do so. This textual-visual discrepancy shows that deeply racialized queer injustices can exist in newspaper framing despite the absence of overtly prejudicial narratives.
Celotno besedilo
Dostopno za:
DOBA, IZUM, KILJ, NUK, PILJ, PNG, SAZU, SIK, UILJ, UKNU, UL, UM, UPUK
In addition to its more well known literary and artistic origins,
the French surrealist movement drew inspiration from currents of
psychological anxiety and rebellion running through a shadowy side
...of mass culture, specifically in fantastic popular fiction and
sensationalistic journalism. The provocative nature of this
insolent mass culture resonated with the intellectual and political
preoccupations of the surrealists, as Robin Walz demonstrates in
this fascinating study. Pulp Surrealism weaves an
interpretative history of the intersection between mass print
culture and surrealism, re-evaluating both our understanding of
mass culture in early twentieth-century Paris and the revolutionary
aims of the surrealist movement. Pulp Surrealism presents
four case studies, each exploring the out-of the-way and
impertinent elements which inspired the surrealists. Walz discusses
Louis Aragon's Le paysan de Paris, one of the great
surrealist novels of Paris. He goes on to consider the popular
series of Fantômes crime novels; the Parisan press coverage of the
arrest, trial, and execution of mass-murderer Landru; and the
surrealist inquiry "Is Suicide a Solution?", which Walz juxtaposes
with reprints of actual suicide faits divers
(sensationalist newspaper blurbs). Although surrealist interest in
sensationalist popular culture eventually waned, this exploration
of mass print culture as one of the cultural milieux from which
surrealism emerged ultimately calls into question assumptions about
the avant-garde origins of modernism itself.
The portrayal of offenders and crime is often viewed through the framing of news stories in traditional media. This shaping of crime to fit preconstructed perspectives can result in the spread of ...fear-based ideals. This study assesses use of fear-based media framing in serial homicide news articles. Taking a mixed methods approach, results suggest prolific use of fear-based framing methods, with six dominant fear-based themes identified. Fear-based frames of provoking, dehumanizing, magnifying, validating, and sensationalizing fear were found and a new frame, sanctifying fear, was identified. Variability among use of frames by offender characteristics were also assessed.
El presente artículo analiza la relevancia mítica del tristemente célebre Jack el Destripador tal y como su figura se ve reflejada en From Hell, la prestigiosa novela gráfica de Alan Moore y Eddie ...Campbell, publicada por primera vez entre 1989 y 1998 por la editorial Kitchen Sink Press en los EE.UU. Obra maestra del noveno arte, impregnada de intertextualidad y de múltiples significados, From Hell constituye, entre otras interpretaciones, una acerba denuncia de la sociedad victoriana profundamente escindida y dual que propició el surgimiento del primer asesino en serie moderno. La obra indaga en la atracción del mal y en la transformación del Destripador en fenómeno mediático, lo que contribuyó a convertirlo en un mito cuya ubicua y proteica presencia ha llegado hasta nuestros días, como prueban las numerosas recreaciones literarias, cinematográficas, televisivas y, en general, artísticas de la figura del asesino múltiple, dando lugar a tendencias en extremo populares, como el género “true crime”.
The article presents content related to the assessment of the usefulness of video monitoring for the identification of perpetrators of homicides as well as qualifying it as an important element of ...crime prevention. It presents the impact of the growing tendency of mass use of public space monitoring systems on the increased sense of security and control over situations which may threaten society. Moreover, the issues related to a perpetrator’s awareness of the inevitability of preserving their image by means of visual monitoring and its impact on the manner of their conduct as well as the possible withdrawal from committing a prohibited act have been signalled. The article also attempts to explain the reasons for the long-term impunity of some killers from the 1960s to the 1980s in relation to the lack of certain technological solutions, and especially the lack of video surveillance in areas where it is commonly used today. The article also covers the current legal solutions allowing for the legitimate collection of images from video monitoring, including those related to the protection of personal data in connection with the processing of images of the perpetrator.
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