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Studying the British Crime Film$
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Paul Elliott

Print publication date: 2014

Print ISBN-13: 9781906733742

Published to Liverpool Scholarship Online: February 2021

DOI: 10.3828/liverpool/9781906733742.001.0001

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PRINTED FROM LIVERPOOL SCHOLARSHIP ONLINE (www.liverpool.universitypressscholarship.com). (c) Copyright Liverpool University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in LSO for personal use.date: 03 August 2021

Serial Killers

Serial Killers

Chapter:
(p.115) Chapter Six: Serial Killers
Source:
Studying the British Crime Film
Author(s):

Paul Elliott

Publisher:
Liverpool University Press
DOI:10.3828/liverpool/9781906733742.003.0007

This chapter assesses the British serial killer cinema. British cinema has been noticeably reticent about depicting its serial killers. Aside from Jack the Ripper, who has appeared in many films since the 1920s, British killers are not nearly as ubiquitous as their Hollywood counterparts and where they are depicted they are often allied more to realism than horror. Like all areas of the crime film, British serial-killer cinema is inextricably linked to Hollywood; however, it also strives to distance itself, drawing on quintessentially British histories, images, and texts. The chapter looks at three films where serial killing is the main thrust of the narrative: Alfred Hitchcock's The Lodger (1927), Richard Fleischer's 10 Rillington Place (1971), and John McNaughton's Henry: Portrait of a Serial Killer (1986).

Keywords:   British serial killer cinema, British cinema, serial killers, Jack the Ripper, British serial killers, realism, British crime film, Alfred Hitchcock, Richard Fleischer, John McNaughton

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