Philip L. Simpson

The author's main premise in this book is that serial killer novels and movies are the new Gothic novels. In essence, Gothic novels exemplified the hidden and dark side-the unnatural doubles of ourselves. This used to be represented by vampires and ghosts. Now, it is serial killers. The victims-the protagonists who really do just bore us-are really only in the novel to provide a contrast to the unnatural ones. Because there is also a large amount of analysis of the victim, this book is as much a feminist deconstruction of many psycho movies as it is an analysis of how we use the notion of psychopaths in our movies to fill that dark corner in our minds that used to be reserved for vampires.
Included in the deconstructions are reviews of how detectives are portrayed (i.e., the difference between the abilities of one man in Red Dragon and the entire FBI), doubles in movies (Casanova and the Gentleman Caller in Kiss the Girls, Detective Somerset and John Doe in Seven), and the influence of gender in these movies and novels (Clarise Starling, Kay Scarpetta, and myriad victims), and the Wilding of society (removing conscience or motive from crimes, such as American Psycho). Occasionally, parallels are made between real-life serial murderers and the fictional ones, but more often the real-life killers are fictionalized (such as Jack the Ripper).
Before starting this book, keep in mind, it is NOT a leisurely read; it is academic. And I must say, there were some incredibly dry parts to this book.

As a side note, I think it's hilarious that the author drew the connection between Patrick Bateman in American Psycho and Batman (in 2000), seeing as Christian Bale played both.… (más)