_________________________ HANNIBAL LECTER WASN'T BORN A MONSTER. HE WAS MADE ONE. Hannibal Lecter emerges from the nightmare of the Eastern Front of World War II, a boy in the snow, mute, with a chain around his neck. He will not speak of what happened to him and his family. He seems utterly alone, but he has brought his demons with him. Hannibal's uncle, a noted painter, finds him in a Soviet orphanage and brings him to France. There, Hannibal lives with his uncle and his uncle's beautiful and exotic wife, Lady Murasaki, who helps him to heal - and flourish. But Hannibal's demons are not so easily defeated. Throughout his young life, they visit him and torment him. When he is old enough, he visits them in turn - and in the fog of traumatic memory, he discovers that he has gifts far beyond what he imagined...
"This book focuses on Harris's internationally known antihero Hannibal Lecter in the classic novels Red Dragon, Silence of the Lambs, and Hannibal. The work examines several themes within Harris' trilogy, including the author's artistic exploration of repressed desires, his refinement of neo-noir themes and the serial killer motif, and his developing perceptions of feminine gender roles"--Provided by publisher.
Sixteen philosophers come at Hannibal the way he comes at his victims—from unexpected angles and with plenty of surprises thrown in. Hannibal is a revolting monster, and yet a monster with whom we identify because of his intelligence, artistry, and personal magnetism. The chapters in this book pose many questions—and offer intriguing answers—about the enigma of Hannibal Lecter. What does the the relationship between Hannibal and those who know him—particularly FBI investigator Will Graham—tell us about the nature of friendship and Hannibal’s capacity for friendship? Does Hannibal confer benefits on society by eliminating people who don’t live up to his high aesthetic standards? Can upsetting experiences in early childhood turn you into a serial killer? Why are we enthralled by someone who exercises god-like control over situations and people? Does it make any difference morally that a killer eats his victims? Can a murder be a work of art? Several chapters look at the mind of this accomplished killer, psychiatrist, and gourmet cook. Is he a sociopath or a psychopath, or are these the same: Is he lacking in empathy: Apparently not, since he has a quick understanding of what other people think and feel. Maybe what he lacks is a conscience.
What Hannibal Lecter, Stephen King, and Vampires Reveal about America
Author: Sharon Packer MD
Category: Social Science
Evil isn't simply an abstract theological or philosophical talking point. In our society, the idea of evil feeds entertainment, manifests in all sorts of media, and is a root concept in our collective psyche. This accessible and appealing book examines what evil means to us. • Includes the insights of scholars from widely different academic fields to inspect evil from various points of view, giving readers a broader perspective on the topic • Compiles expert opinions from American, American expatriate, European, Asian, and Middle Eastern contributors • Covers the portrayal of evil in many different forms of media—film, television, music, art, video games, literature, poetry—as well as in politics, current events, and the legal arena
This book examines how the iconic character Hannibal Lecter has been revised and redeveloped across different screen media texts. Hannibal "The Cannibal" Lecter has become one of Western culture’s most influential and enduring models of monstrosity since his emergence in 1981 in Red Dragon, Thomas Harris’ first Lecter book. Lecter is now at the centre of an extensive cross-mediated mythology, the most recent incarnation of which is Bryan Fuller’s television program, Hannibal (NBC, 2013-2015). This acclaimed series is the focus of Hannibal Lecter’s Forms, Formulations, and Transformations, which examines how Fuller’s program harnesses the iconic character to experiment with traditional boundaries of genre, medium, taste, and narrative form. Featuring chapters from established and emerging screen and popular culture scholars from around the world, the book outlines how the show operates as a striking experiment with televisual form and formula. The book also explores how this experimentation is embodied by the boundary-defying character, the savage cannibalistic serial killer, practicing psychiatrist, and cultured art enthusiast, Hannibal Lecter. The chapters in this book were originally published as a special issue of the journal, Quarterly Review of Film and Video.
Thomas Harris created the iconic fictional murderer and sociopath, Hannibal Lecter. This book explores and analyzes the characters, artistry, and cultural impact of Harris's novels—four of which are centered on the terrifying villain of the iconic film, The Silence of the Lambs. • Includes reproductions of paintings that figure heavily in Harris's work, including William Blake's The Great Red Dragon and the Woman Clothed With the Sun • Provides bibliographic listings of print and online resources for further reading
While masculinity has been an increasingly visible field of study within several disciplines (sociology, literary studies, cultural studies, film and tv) over the last two decades, it is surprising that analysis of contemporary representations of the first part of the century has yet to emerge. Professor Brian Baker, evolving from his previous work Masculinities in Fiction and Film: Representing Men in Popular Genres 1945-2000, intervenes to rectify the scholarship in the field to produce a wide-ranging, readable text that deals with films and other texts produced since the year 2000. Focusing on representations of masculinity in cinema, popular fiction and television from the period 2000-2010, he argues that dominant forms of masculinity in Britain and the United States have become increasingly informed by anxiety, trauma and loss, and this has resulted in both narratives that reflect that trauma and others which attempt to return to a more complete and heroic form of masculinity. While focusing on a range of popular genres, such as Bond films, war movies, science fiction and the Gothic, the work places close analyses of individual films and texts in their cultural and historical contexts, arguing for the importance of these popular fictions in diagnosing how contemporary Britain and the United States understand themselves and their changing role in the world through the representation of men, fully recognising the issues of race/ethnicity, class, sexuality, and age. Baker draws upon current work in mobility studies and in the study of masculinities to produce the first book-length comparative study of masculinity in popular culture of the first decade of the twenty-first century.
In late 19th century England, Oscar Wilde popularized aestheticism, also known as art-for-art’s-sake – the idea that art, that beauty, should not be a vehicle for morality or truth, but an end in-and-of-itself. Rothko and Jackson Pollock enthroned the idea, creating paintings that are barely graded panels of color or wild splashes. Today, pop culture is aestheticism’s true heir, from the perfect charismatic emptiness of Ocean’s Eleven to the hyper-choreographed essentially balletic movements in the best martial arts movies. But aestheticism has a dark core, one that Social Justice Activists are now gathering to combat, revealing the damaging ideology reflected in or concealed by our most beloved pop culture icons. Taking Bryan Fuller’s television version of Hannibal “The Cannibal” Lecter as its main text – and taking Žižek-style illustrative detours into Malcolm in the Middle, Dark Knight Rises, Harry Potter, Interview with a Vampire, Dexter and more – this book marshals Walter Pater, Camille Paglia, Nietzsche, the Marquis de Sade, Kant and Plato, as well as Dante, Shakespeare, Milton, Blake, Baudelaire, Beckett, Wallace Stevens and David Mamet to argue that Fuller’s show is a deceptively brilliant advance of aestheticism, both in form and content – one that investigates how deeply art-for-art’s-sake, and those of us who consciously or unconsciously worship at its teat, are necessarily entwined with evil.
This work examines the allusions to Blake throughout Harris's four Hannibal Lecter novels and provides a Blakean reading of the works as a whole, particularly in regard to the character of Lecter and the nature of evil in the world. Blake's works and philosophy provide a foundation for reading these novels as an exploration of how humanity should view evil and to what extent evil should be accepted. After establishing a Blakean view of evil, the book then explores Harris's novels and their film versions, which reveal that Harris uses Blake to suggest that good and evil are intertwined and coexist, and that it is foolish to try to see them simply as opposing binaries. Refusing to recognize and acknowledge their intertwined relationship leads to imbalance and a negative outcome, as revealed in the fate of Graham in Red Dragon. However, Lecter's journey illustrates the appropriate response to evil, one that ends in a marriage of contraries at the end of Hannibal.
"This book discusses films with diabolical drugging, unethical experimentation, involuntary incarceration, sexual exploitation, lobotomies, "shock schlock," conspiracy theories and military medicine, to show how fact informs fantasy, and when fantasy trumps reality. Except for six "golden years" from 1957 to 1963, portrayals of bad psychiatrists far outnumber good ones and this book tells how and why that was"--