Serial Killers And The Media

This book examines the media and cultural responses to the awful crimes of Brady and Hindley, whose murders provided a template for future media reporting on serial killers. It explores a wide variety of topics relating to the Moors Murders case including: the historical and geographical context of the murders, the reporting of the case and the unique features which have become standard for other murder cases e.g. nicknames for the serial killers, and it discusses the nature of evil and psychopaths and how they are represented in film, drama, novels and art. It also questions the ethics of the “serial killing industry” and how the modern cultural fixation on celebrity has extended to serial killers, and it explores the impact on the journalists and police officers from being involved in such cases including some interviews with them. The treatment of Brady and Hindley by the media also raises profound questions about the nature of punishment including the links between mental illness and crime and whether there is ever the prospect of redemption. This book draws on cultural studies, criminology, sociology and socio-legal studies to offers a multi-dimensional analysis of the impact of this case and then uses this as a basis for the analysis of more recent cases such as the crimes of Peter Sutcliffe and Harold Shipman.

This volume examines the significant increase in representations of serial killers as central characters in popular television over the last two decades. Via critical analyses of the philosophical and existential themes presented to viewers and their place in the cultural landscape of contemporary America, the authors ask: What is it about serial killers that incited such a boom in these types of narratives in popular television post-9/11? Looking past the serial format of television programming as uniquely suited for the presentation of the serial killer’s actions, the chapters delve into deeper reasons as to why TV has proven to be such a fertile ground for serial killer narratives in contemporary popular culture. An international team of authors question: What is it about serial killers that makes these characters deeply enlightening representations of the human condition that, although horrifically deviant, reflect complex elements of the human psyche? Why are serial killers intellectually fascinating to audiences? How do these characters so deeply affect us? Shedding new light on a contemporary phenomenon, this book will be a fascinating read for all those at the intersection of television studies, film studies, psychology, popular culture, media studies, philosophy, genre studies, and horror studies.

This book focuses upon the breaking of rules and taboos involved in 'doing crime', including violent crime as represented in fictive texts and ethnographic research. It includes chapters on topics of urgent contemporary interest such as asylum seekers, sex work, serial killers, school shooters, crimes of poverty and understandings of 'madness'.

For decades now, serial killers have taken center stage in the news and entertainment media. The coverage of real-life murderers such as Ted Bundy and Jeffrey Dahmer has transformed them into ghoulish celebrities. Similarly, the popularity of fictional characters such as Hannibal “The Cannibal” Lecter or Dexter demonstrates just how eager the public is to be frightened by these human predators. But why is this so? Could it be that some of us have a gruesome fascination with serial killers for the same reasons we might morbidly stare at a catastrophic automobile accident? Or it is something more? In Why We Love Serial Killers, criminology professor Dr. Scott Bonn explores our powerful appetite for the macabre, while also providing new and unique insights into the world of the serial killer, including those he has gained from his correspondence with two of the world’s most notorious examples, David Berkowitz (“Son of Sam”) and Dennis Rader (“Bind, Torture, Kill”). In addition, Bonn examines the criminal profiling techniques used by law enforcement professionals to identify and apprehend serial predators, he discusses the various behaviors—such as the charisma of the sociopath— that manifest themselves in serial killers, and he explains how and why these killers often become popular cultural figures. Groundbreaking in its approach, Why We Love Serial Killers is a compelling look at how the media, law enforcement agencies, and public perception itself shapes and feeds the “monsters” in our midst.

The Axman of New Orleans specialized in killing grocers of Italian descent in the 1910s, apparently to promote jazz music. Dorothea Puente was a little old landlady who murdered her tenants, but kept cashing their government checks. The Manson Family terrorized California in the 1960s, as did the Hillside Stranglers a decade later. Twelve serial murder cases, occurring in eight decades between the 1890s and 1990s, had one thing in common: significant presence of the mass media. This book examines these specific cases of serial murder, and the way the media became involved in the investigations and trials of each. Gibson argues that the American media plays a multidimensional and integral role in serial killings and their investigation—and that this role is not generally a positive one. Serial murder cases motivate the media in unfortunate ways, and the result is that even typically respectable media organizations can be involved in such things as document theft, or in interfering with the capture of serial murderers on the run. This link between multiple murderers and mass communication is not accidental or coincidental; rather, the relationship between the press and serial killers is one of extraordinary importance to both parties. Gibson examines the role of the media in serial murder cases; the body of knowledge on serial murder as seen through the lens of mass communication; the effectiveness of law enforcement responses to serial murderers and how they might be improved if the mass communication influence was better understood; the magnitude of the serial murder problem; and the interaction between the media, the killers, and serial murder investigations. Specific examples and numerous quotes are provided throughout to illustrate this strange and detrimental relationship between media and serial murderers.

Sandy Bean, being a “string bean” in high school, is bullied by fellow classmates. He is on to discovering something ingenious that could make him millions, but his classmates destroy the lab. He tried the experiment at home and something goes wrong, a fire occurs. His parents die in the fire and he blames this on his classmates. A reunion is coming up and he plots to get revenge. Learning all kinds of viral marketing, Sandy, or later as he names himself Conan, becomes “The Social Network Killer” as he has learned how to target specific people. Using a special software that he has created, he is able to scrape specific information to locate certain individuals by what they put on various social networking sites. He also creates a voice recognition software that when he speaks a name, it gives him all kinds of information on that person.

A collection of nearly 700 alphabetically-arranged entries providing information on the history of the United States from the pre-Colonial period to the early twenty-first century.

Seminar paper from the year 2016 in the subject Psychology - Media Psychology, grade: 2:2, Royal Holloway, University of London, language: English, abstract: Serial killers are a macabre phenomenon in modern society, and the way they are portrayed has drastically changed over the past few decades. In a world where entertainment industries rake in billions of pounds every year, there are no topics that are considered too sensitive to monetise, and that includes serial killers. This paper examines the comparisons between fictional serial killers, media productions based on real killers, and the actual cases of serial killers. As well as looking at the accuracy of film and television portrayals of serial killers, this paper addresses another very important point – What effect does this oversaturation of gory media have on the public’s perceptions and opinions of serial killers?