Publication: El asesino en serie en el cine de terror estadounidense (1960-1986): un discurso en la cultura popular
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2017-12-05
Defense date
2017-11-14
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Abstract
El asesino en serie en el cine de terror estadounidense (1960-1986): un discurso en la cultura popular analiza la figura del asesino en serie en el cine post-clásico de Hollywood en el contexto de las relaciones entre cine e historia. A diferencia de otros monstruos, el asesino en serie está basado en un criminal real que está considerado como un delincuente distinto, debido al éxito que demuestra en sus actos. La posguerra en Estados Unidos se caracterizó por el enfrentamiento de multitud de movimientos sociales que buscaban enfrentarse al orden establecido. Al mismo tiempo, el cine experimentó una serie de transformaciones estructurales e industriales, los cuales, se materializaron en el asentamiento de una industria underground e independiente que se impregnó de dichos cambios, como demuestra el cine de terror, que se caracterizó por historias con un alto contenido en violencia gráfica.
En cuanto al giro hacia el realismo en este género, el asesino en serie se acabó convirtiendo en el monstruo preferente para encarnar el sentimiento de violencia e inseguridad creciente. Al mismo tiempo, el discurso en torno a su figura se desarrolló en otros campos como la criminología, la psicología y los medios de comunicación. Obviamente, esta narración es el resultado del intercambio entre todas ellas y, consecuentemente, el terror acabaría desarrollando todos estos mitos, estereotipos e ideas alrededor de esta figura.
Hay, además, algunos aspectos claves en esta tesis: cambios culturales y sociales, la creación del concepto “asesino en serie” y la evolución del género y su relación con el propio subgénero que sitúa como protagonista a este monstruo. Además, esta tesis está dividida en cuatro capítulos centrales: contexto histórico, contexto cinematográfico, análisis teórico de esta figura y los ocho casos de estudio escogidos (Psycho, The Boston Strangler, The Last House on the Left, The Texas Chain Saw Massacre, Halloween, Dressed to Kill, The Slumber Party Massacre, Henry: Portrait of a Serial Killer).
Por último, el asesino en serie encarna algunos de los aspectos inherentes del contexto histórico y cultural estadounidense. Capitalismo, consumo, competitividad, puritanismo, excepcionalismo, la raza, el género o la pobreza son elementos que configuran el discurso para reafirmar o criticar la normalidad hegemónica. Por tanto, este discurso no debe ser considerado homogéneo, sino determinado por los cambios históricos del periodo. En conclusión, el asesino en serie en el cine de terror estadounidense durante nuestro periodo de estudio debe ser leído como el resultado de una figura discursiva que encuentra su relato en el cine de terror y que se relaciona con los propios acontecimientos históricos que estaban sucediendo en la sociedad estadounidense. Los miedos que la sociedad estadounidense desarrolló a causa de la Guerra Fría, e incluso, las propias contradicciones internas se reflejaron en este monstruo humano que actuaba libremente en el espacio fílmico.
The Serial Killer in American Horror Movies (1960-1986): A Discourse in Popular Culture analyzes this fictional figure, in an attempt to find out the relations between film and history. Unlike other monsters, the serial killer is based on an actual criminal considered as a distinct offender, due to his success in killing. Postwar America was featured by many social struggles which wanted to challenge the establishment. Meanwhile, film experienced industrial and structural transformations. As a result, the underground and independent cinema captured all these shifts and, in the case of horror genre, these films developed graphic and violent stories. Regarding the realistic turn in horror films, the serial killer became the favorite monster to embody the feeling of increasing insecurity and violence, which frighten American society. At the same time, the discourse of the serial killer was developed in other sources such as criminology, psychology and mass media. Obviously, this narration is the result of the exchange among all of them and, consequently, horror developed all the myths, stereotypes and ideas around this figure. There are some key aspects in this thesis: social and cultural shifts, the creation of the concept, the development of horror and its relation with the serial killer subgenre. Therefore, this PhD thesis is divided into four core chapters: historical background, film horror context, the theoretical analysis of the serial killer and the 8 cases of study that have been chosen (Psycho, The Boston Strangler, The Last House on the Left, The Texas Chain Saw Massacre, Halloween, Dressed to Kill, The Slumber Party Massacre, Henry: Portrait of a Serial Killer). Finally, the serial killer is an embodiment of some inherent aspects of the historical context and the culture of the United States. Capitalism, consumerism, competition, puritanism, excepcionalism, race or gender are some elements that are configured in the discourse of the serial killer either to reassure or to criticize the hegemonic normalcy. However, that discourse is not homogeneous due to the historical changes of the period of study. Therefore, the serial killer in American horror movies from 1960s to 1980s must be understood as the result of a cultural discourse in horror, which is related to the historical development of American society. This way, the Cold War and the own domestic contradictions and fightings were responsibles for the creation of specific fears reflected on this human monster, who behaved freely (and breaking taboos) in horror movies.
The Serial Killer in American Horror Movies (1960-1986): A Discourse in Popular Culture analyzes this fictional figure, in an attempt to find out the relations between film and history. Unlike other monsters, the serial killer is based on an actual criminal considered as a distinct offender, due to his success in killing. Postwar America was featured by many social struggles which wanted to challenge the establishment. Meanwhile, film experienced industrial and structural transformations. As a result, the underground and independent cinema captured all these shifts and, in the case of horror genre, these films developed graphic and violent stories. Regarding the realistic turn in horror films, the serial killer became the favorite monster to embody the feeling of increasing insecurity and violence, which frighten American society. At the same time, the discourse of the serial killer was developed in other sources such as criminology, psychology and mass media. Obviously, this narration is the result of the exchange among all of them and, consequently, horror developed all the myths, stereotypes and ideas around this figure. There are some key aspects in this thesis: social and cultural shifts, the creation of the concept, the development of horror and its relation with the serial killer subgenre. Therefore, this PhD thesis is divided into four core chapters: historical background, film horror context, the theoretical analysis of the serial killer and the 8 cases of study that have been chosen (Psycho, The Boston Strangler, The Last House on the Left, The Texas Chain Saw Massacre, Halloween, Dressed to Kill, The Slumber Party Massacre, Henry: Portrait of a Serial Killer). Finally, the serial killer is an embodiment of some inherent aspects of the historical context and the culture of the United States. Capitalism, consumerism, competition, puritanism, excepcionalism, race or gender are some elements that are configured in the discourse of the serial killer either to reassure or to criticize the hegemonic normalcy. However, that discourse is not homogeneous due to the historical changes of the period of study. Therefore, the serial killer in American horror movies from 1960s to 1980s must be understood as the result of a cultural discourse in horror, which is related to the historical development of American society. This way, the Cold War and the own domestic contradictions and fightings were responsibles for the creation of specific fears reflected on this human monster, who behaved freely (and breaking taboos) in horror movies.
Description
Mención Internacional en el título de doctor
Keywords
Asesinos en serie, Cine de terror, Cine americano