![]() His cell is decorated with his artwork, signifiers of his bourgeois class status.ġ0: Artful cinematography in The Silence of the Lambs suggests that Lecter has literally got inside Clarice’s (Jodie Foster’s) head.ġ1: A close-up shot of Lecter caressing Clarice’s fingers is charged with erotic tension.ġ2: A prisoner throws semen into Clarice's face – a scene that epitomises the sexual threat that she faces from most of the men in the film.ġ3: Lecter rapturously listens to Bach after performing gruesome acts of murder. Psycho’s Norman Bates (Anthony Perkins) dressed as his castrating mother, establishing the motif of the gender-confused serial killer that soon became a staple of the genre.Ĥ: Copycat’s serial killer, Peter Foley (Michael McNamara), is awkward and childlike before his wife in the domesticated space of the home.ĥ: Helen’s mocking and hysterical laughter function as defence against Copycat’s sexually inadequate serial killer.Ħ: Buffalo Bill (Ted Levine) sewing together a body suit made up of the skin of his female victims in The Silence of the Lambs.ħ: Buffalo Bill performs his identification with femininity and his chosen symbol of transformation – the death-head moth – before his own video camera, which mediates our access to this narcissistic display.Ĩ: Anthony Hopkins’ renowned performance as Hannibal Lecter in The Silence of the Lambs: the tightly framed, extreme close-up renders him a fascinating but demonic figure of identification.ĩ: Lecter standing in an eerily restrained pose. Helen Hudson (Sigourney Weaver) is first presented as an impressive figure of female authority, though immediately following this opening scene, she becomes the film’s first victim, viciously attacked by one of the serial killers she helped imprison.Ģ: Mark (Carl Boehm) as Peeping Tom’s serial killer cameraman in a film that metacinematically explores the voyeurism and sadism inherent in the cinematic gaze.ģ. ![]() Masculinity in serial killer movies, by Nicola Rehling JUMP CUTġ: Copycat’s Dr. ![]()
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