La construcción cultural del asesino en serie en el cine de terror (1960-1980): Michael Myers y Samuel Loomis en La noche de Halloween (1978).
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2020
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Universidad Complutense de Madrid
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Tiburcio Moreno, E. (2020). La construcción cultural del asesino en serie en el cine de terror (1960-1980): Michael Myers y Samuel Loomis en La noche de Halloween (1978). Área abierta, 20(2), 191-207. https://doi.org/10.5209/ARAB.68578
Abstract
El asesino en serie no puede ser entendido únicamente como una categorización criminológica sino también como un constructo discursivo necesario para mantener el orden social. Su monstruosidad en el cine de terror y en los medios ha servido para reforzar la labor de salvaguardar la “pureza” normativa por parte del psiquiatra/criminólogo. La metodología seguida se ha basado en la interdisciplinariedad de los estudios culturales y, en particular, en el análisis fílmico e histórico del periodo. Además, la muestra de setenta películas analizadas en este estudio nos ha permitido observar la existencia de una serie de tendencias. Entre los principales resultados, cabe destacar la similitud de la monstruosidad y la normalidad en relación con la ordenación jerárquica de las categorías mentales.
The serial killer cannot only be understood as a criminological classification. It is also a necessary discursive construct in order to maintain the social order. Their monstrosity has served to reinforce the role of the psychiatrist/criminologist in protecting society. Our analysis is based on cultural studies methodology and interdisciplinarity, as well as on film studies and history from the period in question. Furthermore, the sample of seventy titles analyzed in the present work has enabled us to observe the existence of several narrative trends. Amongst the main results, it is noteworthy that monstrosity is based on the same hierarchical order as the hegemonic normalcy.
The serial killer cannot only be understood as a criminological classification. It is also a necessary discursive construct in order to maintain the social order. Their monstrosity has served to reinforce the role of the psychiatrist/criminologist in protecting society. Our analysis is based on cultural studies methodology and interdisciplinarity, as well as on film studies and history from the period in question. Furthermore, the sample of seventy titles analyzed in the present work has enabled us to observe the existence of several narrative trends. Amongst the main results, it is noteworthy that monstrosity is based on the same hierarchical order as the hegemonic normalcy.