People’s views on various concepts and phenomena undergo constant changes that are determined by the transformations in human society. The good and the bad are two aspects that have also been reconsidered many times. Crime and criminals, being a manifestation of the bad, were regarded as inherently evil and disgusting previously. Nevertheless, fictional murderers are often protagonists who are empathized with (Kendal). Film serial killers are a specific caste where likable individuals seem to prevail. Such fictional serial killers as Dexter, Tom Ripley, or Hannibal Lecter are protagonists who are characterized by the traits that account for the interest and even affection to these criminals. This paper dwells upon the factors that contribute to the popularity of serial killers in modern cinematography and the development of the audience’s views on these characters.
New Types of Heroes
The film characters mentioned above, since many serial killers depicted in films, share certain features in common. On the one hand, they are every-men who can be the viewer’s neighbor (Call, p. 3). These are people who live an ordinary life and perform some tasks being, for example, a psychiatrist (Hannibal) or a forensic technician (Dexter). On the other hand, these people have outstanding abilities and qualities. They have remarkable mental abilities that ensure their escape from the system (Kendal). More importantly, they have thedare tout and break the rules hey find inappropriate or wrong (McWilliams, p. 27). For example, Dexter takes up the role of a judge and executor punishing criminals for their horrible deeds. Hannibal Lecter’s intellectual abilities make him interesting to the audience. He is also rather skeptical about the existing norms, which makes his crimes less pronounced as his worldview is brought to the fore.
It is important to add that fictional serial killers are new heroes who stand up to the rest of the world. During the age of Romanticism, people created various fictional characters who had to oppose the entire world. They were alone, but they still tried to change the world for the better. In a way, new heroes, serial killers depicted in films, are also against society and its rules. They are doomed to be alone deprived of the joys of ordinary life. They do not have families or even friends as they have to live in solitude (Kendel). Their alienation is a kind of punishment or rather the price they pay for their being super people.
Modern Culture and People’s Preferences
Another factor contributing to the popularization of serial killers in cinematography is closely related to the one linked to personal traits. Cummins et al. suggest that viewers are fascinated by such criminals due to the peculiarities of the current celebrity culture (p. 90). Being a part of the masses, serial killers obtain an opportunity to become celebrities and enter the world of fame and wealth. People are often obsessed with the idea of becoming famous or, at least, seeing that distant world. Gaining a specific status and position in the ety with the help of homicide is partially depicted in Tom Ripley’s story. The young man strives for the life of the rich and is ready to kill to live the life of his dream. Modern people are also prepared to ignore the atrocity of serial killers’ deeds if they are famous enough. People’s admiration for the world of celebrities makes them less sensitive about morality or ethical codes.
In addition to the focus on fame and popularity, viewers admire another aspect associated with fictional serial killers. People love secrecy and enjoy being involved in the secret life of a person who is not average (McWilliams, p. 28). For instance, Dexter and Ripley have to conceal their alter egos. Their intellectual abilities enable them to live two lives, and the audience is engaged by seeing the other life that is full of secrets, codes, and enigmas (McWilliams, p. 28). Viewers like feeling a part of the secret life of another person, even if this individual is a fictional character.
It is also necessary to note that Nietzsche’s concepts of superman are still popular in the contemporary world. Many viewers tend to agree that certain extraordinary features can justify certain behaviors. Super people do not need to live in accordance with any laws inflicted by the majority (Cummins et al, p.162). They are above those constructions, so their actions cannot be judged within the scope of rules and norms created by society. These super people are above the system, above any norms, and even above the laws of nature. For those people, killing is not an atrocious act anymore because it acquires the elements of the deeds of super people who have the right to choose their ways to express themselves, to live, and to achieve success.
Ripley, Dexter, and Hannibal can serve as illusions of Nietzsche’s ideas. Hannibal is an extraordinary intellectual whose mental abilities make him see the essence of things. He is a superman who understands human nature, so he can be granted the right to push the limits, at least, in the viewers’ opinion. Ripley is capable of changing his life and himself in his pursuit of the lifestyle of his dream. Therefore, the audience grants him the right to act in exotic ways that are unacceptable in the real world.
Broken World
Clearly, the shifts that have taken place during the past decades are also responsible for the new position of fictional serial killers. As mentioned above, criminals were depicted as monstrous and distorted personalities who could evoke such emotions as disgust, hatred, and rejection (Cummins et al, p. 90). They often had some incidents in their childhood that had an impact on their future life (Call, p. 3). However, this representation faced considerable changes in the 1960s when such directors as Hitchcock created their villains (Cummins et al, p. 90). Traumatic experiences made those characters’ personalities and intellectual abilities extend the existing boundaries.
At this point, it is necessary to look at one of the most famous and remarkable characters who contributed to the evolution of people’s views on the nature of the good and the bad. Frankenstein’s monster was one of those characters whose existence raised important questions. The reader was invited to decide whether nurture was more influential than nature. The creature was not inherently evil, but the environment made it a cruel monster. People saw the creature as a monster and deprived it of ordinary relationships. Frankenstein’s creature did not experience love or, a least, empathy. Hatred, suspicion, and a myriad of other negative emotions haunted the creature that wanted to live and enjoy the beauty of the world. In simple terms, Frankenstein’s creature, as well as himself, was the product of the eighteenth century.
Likewise, serial killers are the product of today, and they are also fostered by the society. Force, Dexter’s inclinations, traits, and behaviors can be explained by the traumatic experience he had in his childhood. At the same time, his behavior is not merely the desire to kill per se. He responds to the wrongs of the society where murderers can escape from the judicial system and avoid punishment. Dexter wants to fix the world, but the man chooses rather exotic ways to achieve this goal. Hannibal, being a prominent psychiatrist, sees the imperfections of the world and tries to improve his life by indulging himself. His distorted personality is also a product of the broken world with its imbalances.
Conclusion
On balance, it is possible to state that people admire or at least show interest in film serial killers due to several reasons. People’s love for secrecy and the celebrity culture, as well as the popularity of Nietzsche’s dogmas, make individuals seem likable irrespective of their deeds. Moreover, these deeds are often justified by the fictional characters’ desire to change the world for the better or make their lives fuller. The line between the good and the bad is now almost intangible, so serial killers become the heroes of today. Modern society is characterized by uncertainty, diversity, and plurality. These features make people willing to excuse some actions if a person is not average. At that, the final scenes of the films about serial killers show that protagonists are deprived of complete happiness, which shows that people do not find immoral behaviors acceptable or desirable.
References
- Call, Corey. “Serial Entertainment: A Content Analysis of 35 Years of Serial Murder in Film. ” Homicide Studies, vol. 23, no. 4, 2019, pp. 362-380.
- Cummins, Ian, et al. Serial Killers, and the Media: The Moors Murders Legacy. Springer, 2019.
- Kendal, Claire. “The Allure of the Serial Killer Hero.” The Strand Magazine, 2017. Web.
- McWilliams, Stephen. Psychopath?: Why We Are Charmed by the Anti-Hero. Mercier Press, 2020.