Hinweise für Autoren. Leitfaden VG Wort Impressum. IASL print. In his history that traces the increasingly close relationship between the culture of serial killers and the culture of celebrity, Schmid argues that. Natural Born Celebrities falls into two main sections. In the first section, Schmid traces the history of serial killing from its modern origins with Jack the Ripper at the end of the 19 th century to the Washington, D. Schmid argues that during this period the serial killer emerges as a media celebrity, who is continually represented in the media and greeted by the public with a mixture of horror and fascination. This ambivalent approach to serial killers, according to Schmid, can be attributed to »the fact that serial killers could be read as condensed symptoms of the social, thus allowing for the establishment of a wide-ranging culture industry organized around them« p. Focusing his initial discussion on the Victorian serial killers Jack the Ripper and H. Holmes, Schmid does a fine job presenting a condensed history of their careers and the ways in which they have been understood. His most original and interesting contribution to this already well-researched and often-discussed history is his assertion that serial killing has been defined as a peculiarly American crime from the turn of the 20 th century to the present. Given that any history of serial murder must start in London with Jack the Ripper, Schmid is compelled to employ inventive arguments in order to turn Jack into an American. And indeed he includes a fascinating discussion of suspicions at the time of the Whitechapel murders that Jack was an American. Unfortunately, Schmid does not develop this aspect of his argument well enough, preferring instead to present a comprehensive picture of Jack as a media celebrity. His discussion of H. Holmes, »the first American serial killer« assuming that Jack was not an Americanas a clever businessman and American entrepreneur is interesting and illuminating. Even studies that read Holmes as a madman, rather than a shrewd businessman who is perhaps a bit too zealous in his attempts to maximize profits, Schmid tells us, are ultimately attempts to distance oneself from a figure whose motivations seem all-too-familiar, even if his tactics do not. Despite his attempts to link Homes and Jack, however, Holmes remains an anomaly in the history of serial killers: motivated by financial gain, he is much easier as Schmid notes to fit into a readily-understandable narrative — he was not a Lustmörder like Jack and so many others who followed him and whose motivations are often mysterious; murder was his business. Schmid argues that the FBI launched a deliberate campaign in the s and s to distort and exploit fears about serial killers in order to reassert a level of importance and power for itself that it had lost in previous years. He discusses the often-quoted, but extremely questionable assertions by the FBI that serial killers are highly-mobile — travelingmiles a year — and highly-active — committing as a group approximately 4, murders each year p. And in between Communists and terrorists, it was serial killers. His discussion of celebrity profilers such as John Douglas and Robert Ressler, both of whom are former FBI agents turned authors of a string of best-selling books, is the most convincing analysis of celebrity culture in the book. These two chapters stand out from the rest of the book for two reasons: 1 they do not focus directly on serial killers and 2 they are highly original and compelling. As it stands, the two strands of this book — one focusing on serial killers and the other focusing on the detectives who pursue them — never really come together seamlessly. I frankly wish that Schmid had developed this second strand of his argument more, even if it meant developing his first strand less. In the second section of the book, Schmid focuses on recent representations of serial killing in American popular culture. In these chapters — and indeed throughout the book — Schmid demonstrates an admirably encyclopedic knowledge of the popular and scholarly literature on serial killers. His discussion ranges widely — from movies to television programs to true crime novels — and contains many interesting analyses of the vast literature on serial killing. Most of is sex on the first date a relationship killer texts he discusses are well-known part of the traditional serial killer canon, so to speakbut he does also include a selection of less-known texts. The first chapter of this section traces the history of serial killer films, which Schmid argues invite complex and shifting objects of identification for their viewers. By contrast, a small handful of films such as Man Bites Dog and Henry: Portrait of a Serial Killer employ »strong violence«, interrogating viewers and forcing them to confront their own mixture of horror and fascination with the violence perpetrated by serial killers. Schmid continues with visual culture in his next chapter, focusing on the supernatural television crime drama. As he did in his second chapter of part one, Schmid once again shifts his focus from serial killers to the detectives who pursue them. And yet he has hardly anything to say about serial killers in this chapter, instead demonstrating that these shows play a major role in »generating audience support for the law enforcement perspective on serial murder« p. The final two chapters turn to the popular genre of true-crime narratives, which, according to Schmid, function to construct and maintain clear boundaries between »abnormal« serial killers and »normal« members of the community. These texts — the origins of which Schmid finds in Puritan America — ultimately serve to generate and police any number of social norms gender, sexuality, power, etc. These texts resolutely refuse to confront their readers with the thought that these killers might arise out of a social context that they share with the audience of the book; instead, they »eschew sympathy altogether, preferring instead to present their readers with the comforting thought that these monsters they write about have nothing to do with them« p. Although many of his readings are quite interesting, Schmid presents both too much and too little material in these chapters. By discussing approximately a dozen of the hundreds of relevant serial killer films, for example, he finds is sex on the first date a relationship killer on the shaky ground between a scholarly study that generates its ideas from a deep analysis of one or two key texts and a scholarly study that generates its ideas from a truly representative sample of the films on the subject. The reader is often left guessing as to why he chooses to examine the texts he does while leaving out others that seem even more relevant to his subject. Why, for example, devote so much space in a study that purports to deal with »serial killers in American is sex on the first date a relationship killer to the Belgian film Man Bites Dogwhile ignoring the interesting American film based on an even more interesting book The Minus Mannot to mention the classic Psycho? He does the same with the vast body of scholarship that he cites. The chapters on films and television programs read in part like an introduction to film and media studies, briefly summarizing all of the classic theorists in the field and introducing the most fundamental concepts, but failing to engage the most relevant scholarship with the greatest sophistication.
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The Scholarly Fascination with Serial Killers
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