Relevant bibliographies by topics / Hannibal Lecter

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Hannibal Lecter'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 April 2022

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Journal articles on the topic "Hannibal Lecter"

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Powers, Korine. "Hannibal Lecter as Avenging War Orphan in Thomas Harris’s Hannibal Rising." Twentieth-Century Literature 66, no. 1 (2020): 125–46. http://dx.doi.org/10.1215/0041462x-8196740.

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Beginning with Red Dragon (1981), horror icon Hannibal Lecter thrilled audiences as the ultimate unreadable reader, consuming minds and bodies behind the polished veneer of aristocratic taste and psychological expertise. Yet by the end of the twentieth century, Lecter had shifted from monster to hero. This article argues that Thomas Harris’s prequel novel, Hannibal Rising (2006), makes Lecter more palatable by portraying his serial murders as an act of vengeance against a postwar society that allowed war criminals to rejoin the consumer milieu. Hannibal Rising uses graphic depictions of the atrocities of the Second World War—including freezing, starvation, immolation, and enslavement—to mitigate Lecter’s cannibalistic classism and restore his humanity. Lecter is rendered mute by the trauma of consuming his sister, the patrician Lecter Castle becomes a Soviet orphanage, and Lecter’s eventual victims are war criminals who have reintegrated into society across the Western world. In return, Hannibal Rising’s readers are asked to project the specter of Lecter’s trauma and these war criminals’ violence onto all of Lecter’s victims. No act of cannibalism, Hannibal Rising suggests, is more monstrous than the war crimes and subsequent Allied apathy that Hannibal fights and bites against.
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Endah, Dian Nur. "SERIAL KILLER IN POPULAR LITERATURE: A FORMULA ANALYSIS OF HANNIBAL LECTER SERIES." Rubikon : Journal of Transnational American Studies 3, no. 2 (2019): 1. http://dx.doi.org/10.22146/rubikon.v3i2.34266.

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Using textual analysis, this research attempts to find out the formula of Hannibal Lecter novels. These formula is analyzed and studied to acquire convention and invention in Hannibal Lecter characterization compared to other serial killer fictions. These two aspects are the foremost things that enable Hannibal Lecter novel series become acceptable and popular in American society. The result of this research is that there are some aspects in Hannibal Lecter characterization that are defined as convention of serial killer genre; 1) depiction of serial killer as white male, 2) depiction of serial killer as being highly intelligent and strong. Meanwhile, aspects that show invention of serial killer characerization are; 1) Depiction of serial killer as person who commits killing to bad people, 2) Performing cannibalism practice as civilized action, 3) Being woman lover, not misogynist, and 4) Being sociable man.Keywords: serial killer, formula, convention, invention, crimes
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Ruiz Martínez, José Manuel. "Hannibal Lecter como ejemplo de personaje transmedia: un estudio de caso." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada, no. 28 (August 1, 2017): 42–59. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.2017282056.

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Desde su aparición como personaje secundario, Hannibal Lecter ha protagonizado una saga de novelas, varias películas y una serie de televisión, y su figura ha crecido hasta convertirse en la de uno de los personajes más icónicos, incluso míticos, de las últimas décadas en el imaginario colectivo. En este artículo discutiremos si el mundo ficcional de Hannibal Lecter puede considerarse una narración transmedia o no. Esto nos permitirá observar los límites y complejidades del transmedia storytelling y su relación con otras prácticas como la adaptación. Asimismo, plantearemos la importancia del transmedia fundamentado en personajes, y el uso de los paratextos para dar consistencia y coherencia a un mundo de ficción. From his first apparition as a secondary character, Hannibal Lecter has starring a novel saga, several films, and a TV series, and his figure has been growing to become one of the most iconic, (even mythical) and recognizable figures of last decades. In this article, we discuss whether the fictional world of Hannibal Lecter can be considered transmedia or not. This will enable us to glimpse at the limits and complexities of the transmedia storytelling, and its relations to other media practices such as adaptation. We also show the importance of character-based transmedia storytelling, and the use of paratexts in order to put together and give consistency to a fictional world.
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Ziomek, Ewa. "Hannibal Revived: an Aestheticized Portrayal of Hannibal Lecter in NBC’s TV Series Hannibal." Crossroads. A Journal of English Studies, no. 23(4) (2018): 46–58. http://dx.doi.org/10.15290/cr.2018.23.4.04.

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Pitigoi, Alex. "Three Actors, One Lecter: Constructing Hannibal Through Performance." Film Matters 4, no. 2 (2013): 44–48. http://dx.doi.org/10.1386/fm.4.2.44_1.

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Gregory, Bettina. "Hannibal Lecter: The Honey in the Lion’s Mouth." American Journal of Psychotherapy 56, no. 1 (2002): 100–114. http://dx.doi.org/10.1176/appi.psychotherapy.2002.56.1.100.

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Messent, Peter. "American Gothic: Liminality in Thomas Harris's Hannibal Lecter Novels." Journal of American Culture 23, no. 4 (2000): 23–35. http://dx.doi.org/10.1111/j.1537-4726.2000.2304_23.x.

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Koprowicz, Agata. "Przymus przemiany. Serial „Hannibal” jako krytyka kultury terapeutycznej." Literatura i Kultura Popularna 26 (September 17, 2021): 287–303. http://dx.doi.org/10.19195/0867-7441.26.21.

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The article is an analysis of the Hannibal series (2013–2015) made by Bryan Fuller with reference to therapeutic culture. Hannibal is presented as a manifestation of the critique of contemporary culture, which focuses on the relationship of subject and power in therapeutic culture in Western liberal societies. The main thread that has been analysed is the relationship between the main characters: Will Graham and Hannibal Lecter.
 The article presents the origin of therapeutic culture and the category of “psychological man” (P. Rieff). The relationship between Will and Hannibal is not a meta-image of contemporary therapeutic culture in general, but its dark face. The series shows the culture of therapy brought to its limits, where norms are not so much exceeded, but subverting.
 Hannibal Lecter is presented as the “ideal self” of liberal societies, an entity free from cultural norms in an absolute way. Will is opposed to him. His personality does not allow classification, just as a modern subject does not want to be classified, because it would mean pinning him to one place and making it impossible for him to develop.
 An important problem in the article is “coercion of change”. The “right to change” legitimised by the liberal system changes into “coercion of change” in the series. The requirement of “full life” means that standing in a place is something undesirable, live in a real way is to experience of something new, to change — even if it means a transformation into a murderer. In the end it is argued that “being yourself” is an effect of power in therapeutic culture.
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Hernández Iglesias, Melissa. "Nietzsche en serie: la felicidad desde otra perspectiva. Hannibal Lecter: héroe nietzscheano." Bajo Palabra, no. 2018 (November 2018): 183–94. http://dx.doi.org/10.15366/bp2018.18.008.

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Cenciarelli, Carlo. "Dr Lecter's Taste for ‘Goldberg’, or: The Horror of Bach in the Hannibal Franchise." Journal of the Royal Musical Association 137, no. 1 (2012): 107–34. http://dx.doi.org/10.1080/02690403.2012.669929.

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ABSTRACTThe repeated use of the ‘Goldberg’ Variations in the Hannibal Lecter saga offers a route into the complexities of cinema's appropriation of Western art music. To an extent, the affiliation of Bach with a cannibalistic serial killer rehearses the notion of ‘classical music’ as socially and culturally other. Yet at the same time, from its first appearance in a memorable scene in The Silence of the Lambs (1991), the music is tied to the workings of a mass-media phenomenon. This becomes evident in the sequel, Hannibal (2001), where the ‘Goldberg’ Aria, used as title song, crossing in and out of the diegesis and mixed with sound effects, becomes part of the development of the character into a media franchise, of the romanticizing of his masculinity and the spectacularization of his violence. Thus, in the process of capitalizing on Lecter's success, the saga at once insists on classical music's otherness and blurs its difference from film music.
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Dissertations / Theses on the topic "Hannibal Lecter"

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Doiche, Eliana Pardo Pulz. "A lenda de Hannibal Lecter: um estudo da carnavalização nos filmes o silêncio dos inocentes, Hannibal e dragão vermelho." Universidade Presbiteriana Mackenzie, 2012. http://tede.mackenzie.br/jspui/handle/tede/2159.

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Made available in DSpace on 2016-03-15T19:45:40Z (GMT). No. of bitstreams: 1 Eliana Pardo Pulz Doiche.pdf: 2062340 bytes, checksum: 7de25d0280f3dcefcdfa30cd6c86f46a (MD5) Previous issue date: 2012-02-17<br>The goal of this dissertation is the study of the character Hannibal Lecter in filmic narratives The Silence of the Lambs, Hannibal and Red Dragon. To this end, we focus on the character in two ways: the first relates to its construction. We studied the movements of the camera, the camera angles and focus of the camera. Some other elements of film language, such as noise and music were cited when they were very relevant to the composition of the character. The second deals with the dialogue, the science of relations , as formulated by Bakhtin. We seek thus to seize the moments when the characters become aware of their identity. The narrative procedures common to the corpus show the conception of the film world stands on the carnavalization. Through the images carnivalized, we are faced with a topsy-turvy world where the truths and identities are relative.<br>O objetivo desta dissertação é o estudo da personagem Hannibal Lecter nas narrativas fílmicas O Silêncio dos Inocentes, Hannibal e Dragão Vermelho. Para tanto, focalizamos a personagem sob dois aspectos: o primeiro se relaciona com sua construção. Estudamos os movimentos de câmera e os ângulos de focalização da câmera. Alguns outros elementos da linguagem fílmica, como os ruídos e a música, foram citados quando os mesmos eram muito relevantes para a composição da personagem. O segundo trata do dialogismo, da ciência das relações , conforme formulada por Bakhtin. Buscamos, assim, apreender os momentos em que as personagens tomam consciência de sua identidade. Os procedimentos narrativos comuns ao corpus evidenciam que a concepção de mundo dos filmes se sustenta sobre a carnavalização. Por meio das imagens carnavalizadas, estamos diante de um mundo às avessas, onde as verdades e as identidades são relativas.
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Wilson, Alison E. "Hannibal Lecter v. Immanuel Kant : an application of Kantianism to graphic horror film /." Connect to online version, 2007. http://ada.mtholyoke.edu/setr/websrc/pdfs/www/2007/221.pdf.

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Radford, Kathryn. "Picking brains : Hannibal lecter and the cannibal myth in twentieth-century western literature." Thèse, [Montréal] : Université de Montréal, 2003. http://wwwlib.umi.com/cr/umontreal/fullcit?pNQ92723.

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Thèse (Ph.D.) -- Université de Montréal, 2004.<br>"Thèse présentée à la Faculté des études supérieures En vue de l'obtention du grade de Philosophiae Doctor (Ph.D.) En littérature comparée et générale" Version électronique également disponible sur Internet.
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Woodall, Ian R. "Dr. Hannibal Lecter and friends : a consideration of the issue of confinement ; "it's so rare to get one alive" /." Title page and introduction only, 2001. http://web4.library.adelaide.edu.au/theses/09AR/09arw873.pdf.

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Gravel, Anne-Sophie. "Figures de meurtriers célèbres dans les séries télévisées Bates Motel (2013-2017), et Hannibal (2013-2015) ainsi que dans le film Seven (1995) ; : suivi de : Les leçons de Gillian (Scénario)." Master's thesis, Université Laval, 2019. http://hdl.handle.net/20.500.11794/40300.

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Cette recherche-création effectuée dans le cadre d’études de deuxième cycle présente une analyse de l’adaptation télévisuelle récente de meurtriers fictifs notoires. Dans la première partie, un essai retrace la façon dont ont été transposés pour la télévision les personnages de Norman Bates (Psycho, 1960) et d’Hannibal Lecter (The Silence of the Lambs, 1991) ainsi que les mécanismes qui ont été déployés afin d’étoffer ces protagonistes et leurs forces d’action. Dans la deuxième partie, on présente la création d’une série télévisée librement inspirée du personnage de John Doe (Seven, 1995). Cette section décrit les différentes étapes du processus d’élaboration d’une œuvre télévisuelle, incluant la démarche d’adaptation, le sujet de la saison, la description des personnages, la structure narrative et les milieux de l’action, les résumés et synopsis des épisodes. Par la suite, un des épisodes a été scénarisé.
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Ryan, Christopher James. "Hunks of Meat: Homicidal Homosociality and Hyperheteronormativity in Cannibal Horror." Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1343086134.

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Barber, Cary Michael. "The Lost Generation of the Roman Republic: Elite Losses and the Senate of the Hannibalic War." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1479904087252208.

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Rato, Rui Pedro Santos. "Becoming: Metamorphosis in the Hannibal Lecter Trilogy." Dissertação, 2015. https://repositorio-aberto.up.pt/handle/10216/81572.

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Rato, Rui Pedro Santos. "Becoming: Metamorphosis in the Hannibal Lecter Trilogy." Master's thesis, 2015. https://repositorio-aberto.up.pt/handle/10216/81572.

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Andrzejewski, Adam. "Ontologia artefaktów w estetycznym doświadczeniu codzienności." Doctoral thesis, 2016.

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Streszczenie Celem rozprawy jest zbadanie możliwości aplikacji metod i narzędzi wypracowanych na gruncie analitycznej estetyki codzienności do analizy i interpretacji przedmiotów estetycznych. Głównym aspektem metodologicznym, na jaki zwraca się uwagę w rozprawie, jest estetyczna i epistemologiczna rehabilitacja tzw. zmysłów niższych, tj. smaku, zapachu i dotyku. W rozprawie zostały wybrane dwa pola egzemplifikacji, na jakich testowana jest estetyka codzienności. Głównym polem egzemplifikacji są dania kulinarne ( w wydaniu nowej gastronomii), natomiast egzemplifikacją poboczną jest serial telewizyjny Hannibal. Rozprawa składa się z czterech zasadniczych rozdziałów. Pierwsze dwa mają charakter ogólny i są poświęcone analizie metod estetyki codzienności, następne dwa dostarczają szczegółowych analizy wybranych pól egzemplifikacji. W rozdziale „Tezy estetyki codzienności” zostają sformułowane i zanalizowane podstawowe metody i pojęcia estetyki codzienności, to jakich należą m. in. pojęcie codzienności, relacja estetyki codzienności do filozofii sztuki, własności estetycznego doświadczenia codzienności czy zasada indywidualizacji tegoż doświadczenia. Rozdział „Nowa teoria artyfikacji” poświęcony jest autorskiej teorii artyfikacji, tj. teorii przedmiotów sztuko-podobnych. W opozycji do najbardziej rozpowszechnionej teorii artyfikacji, autorstwa Ossiʼego Naukkarinena i Yuriko Saito, formułowana jest alternatywne teoria ujmująca naturę przedmiotów artyfikowanych, sposób ich trwania i indywidualizacji, a także warunki odkreślające to, co może (bądź nie może) być przedmiotem artyfikowanym. W następnym rozdziale zatytułowanym „Nowa gastronomia jako sztuka-jedzenia” przedstawiona została argumentacja na rzeczy uznania jednego z fenomenów współczesnej kuchni profesjonalnej, tj. nowej gastronomii, jako rodzącej się formy sztuki. W toku analizy zostaje wyłuszczona rola zmysłów niższych w estetycznej i artystycznej konstytucji dań nowej gastronomii, jako dzieł sztuki. Rozdział zawiera także analizy odnośnie do pojęcia formy sztuki oraz formułuje i obala możliwe zarzuty wymierzone przeciw głównej tezie rozdziału. Ostatni rozdział, jakim jest „Teatralizacja życia a estetyka codzienności”, poświęcony jest zbadaniu relacji zachodzącej pomiędzy dwoma trwałymi zjawiskami estetycznymi. W wyniku przeprowadzonych analiz zostaje wykazane, iż estetyzacja życia przez teatralizację codzienności nie może być formą estetyki codzienności. Teza ta, oprócz stosownej analizy pojęciowej, została podparta materiałem wizualnym zaczerpniętym z serialu Hannibal. W końcowych partiach rozprawy zostało ukazane w jaki sposób aplikacja zmysłów niższych pozwala na zrozumienie wielu, newralgicznych dla zrozumienia intrygi, wątków fabularnych rozgrywających się w świecie przedstawionym omawianego serialu.<br>The purpose of this thesis is to examine possible applicability of methods and tools developed in the light of analytical everyday aesthetics with regard to analysis and interpretation of aesthetic objects. The main methodological aspect attracting attention of the reader is aesthetic and epistemological rehabilitation of so-called lower senses, that is the senses of taste, smell and touch. The author selected two areas of exemplification as testing field for everyday aesthetics. The main area of exemplification focuses on culinary dishes (as offered by new gastronomy), whereas secondary exemplification involves TV series entitled „Hannibal”. The thesis consists of four chapters. The first two chapters deal with general characteristics and focus on analysis of methods used to examine the aesthetics of the everyday, whereas the other two provide a detailed analysis of selected areas of exemplification. The chapter entitled „The theses of everyday aesthetics” includes formulation and analysis of basic methods and concepts of everyday aesthetics, which include among others the concept of the everyday, relation of aesthetics of the everyday to the philosophy of art, characteristics of aesthetic experiencing of the everyday or the principle of individualization of such experience. The chapter entitled „New theory of artification” is dedicated to a proposal of original theory of artification, that is the theory of art-like objects. In contrast to the most popular theory of artification by Ossi Naukkarinen and Yuriko Saito, an alternative theory is formulated, which defines the nature of artified objects, the manner of their lasting and individualization as well as conditions defining what can (or cannot) be called an artified object. The next chapter entitled „New gastronomy as edible art” presents arguments in support of acknowledgement of one of the phenomena of contemporary professional cuisine, that is new gastronomy, as an emerging form of art. It expounds the importance of lower senses in aesthetic and artistic constitution of new gastronomy dishes as the works of art. This chapter also includes analyses of the concept of form of art as well as formulates and invalidates possible charges aimed at the main thesis presented in the chapter. The last chapter, „Dramatization of life vs. aesthetics of the everyday” focuses on examination of the relationship between two permanent aesthetic phenomena. The results of the analyses show that aestheticization of life by dramatization of the everyday cannot be a form of everyday aesthetics. In addition to proper notional analysis, the thesis is supported with visual material from the series entitled „Hannibal”. The chapter also shows how application of the lower senses can support understanding of many themes emerging in the reality of the series, which are crucial for the understanding of the plot.
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Books on the topic "Hannibal Lecter"

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Harris, Thomas. The Hannibal Lecter omnibus. BCA, 2002.

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Sylvère, Lotringer, ed. Hannibal Lecter, my father. Semiotext(e), 1991.

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O'Brien, Daniel. The Hannibal files: The unauthorised guide to the Hannibal Lecter phenomenon. Reynolds & Hearn, 2008.

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The Hannibal files: The unauthorised guide to the Hannibal Lecter trilogy. Reynolds & Hearn, 2001.

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O'Brien, Daniel. The Hannibal files: The unauthorised guide to the Hannibal Lecter trilogy. Reynolds & Hearn, 2001.

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The Hannibal files: The unauthorised guide to the Hannibal Lecter phenomenon. Reynolds & Hearn, 2008.

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Hannibal Rising. Wilhelm Heyne Verlag, 2008.

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Harris, Thomas. Hannibal Rising. William Heinemann, 2006.

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Hannibal Rising. Charnwood, 2007.

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Harris, Thomas. Hannibal Rising. Dell, 2007.

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Book chapters on the topic "Hannibal Lecter"

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Forshaw, Barry. "The Ascent of Hannibal Lecter." In The Silence of the Lambs. Liverpool University Press, 2013. http://dx.doi.org/10.3828/liverpool/9781906733650.003.0003.

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This chapter examines the character of Hannibal Lecter. Thomas Harris makes it quickly apparent that Lecter is unlike most other fictional monsters we have encountered: he is well-read, charismatic, and immensely polite. In fact, politeness is one of the key components of his baleful personality: those he considers ‘impolite’ he kills. His prey are frequently other killers, monsters who, unlike himself, are mere murderers, without his ‘redeeming’ features such as a high IQ, impressive culinary skills, and an expert knowledge of Italian Renaissance art. Indeed, one of Harris's signal achievements is the establishment of the character's unacknowledged mauvais foi — the monumental, smug self-deception he practices to maintain a lofty distance between himself and those he considers to be ordinary killers, or worse, ordinary killers who lack manners. The chapter then looks at Lecter's screen debut in the film Manhunter (1986). It also considers the influence of the Italian genre of the stylish murder thriller, the giallo, on the films made of Harris's work.
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"THE ASCENT OF HANNIBAL LECTER." In The Silence of the Lambs. Auteur, 2013. http://dx.doi.org/10.2307/j.ctv13841h2.5.

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"Ist ein weiblicher Hannibal Lecter denkbar?" In Mörderinnen. transcript-Verlag, 2013. http://dx.doi.org/10.14361/transcript.9783839423585.161.

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Neubauer-Petzoldt, Ruth. "Ist ein weiblicher Hannibal Lecter denkbar?" In Mörderinnen. transcript Verlag, 2013. http://dx.doi.org/10.1515/transcript.9783839423585.161.

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Creed, Barbara. "Freud's Worst Nightmare: Dining with Dr. Hannibal Lecter." In Horror Film and Psychoanalysis. Cambridge University Press, 2004. http://dx.doi.org/10.1017/cbo9780511497742.013.

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LoBrutto, Vincent. "You Don’t Say No to “Big Dino”." In Ridley Scott. University Press of Kentucky, 2019. http://dx.doi.org/10.5810/kentucky/9780813177083.003.0015.

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Ridley Scott wasn’t necessarily interested in directing a sequel to Silence of the Lambs, but he was talked into it by one of the most persuasive international producers, Dino De Laurentiis. Jodie Foster, who played the lead in that film, was approached to reprise her role for Hannibal but took exception to the way her character had evolved in the later movie. Her character, Clarice Starling, was played by Julianne Moore. Here the focus was strongly on the Hannibal Lecter character, again brilliantly played by Anthony Hopkins. Where Silence of the Lambs was a psychological thriller, Hannibal is more of an out-and-out horror film. There are many scenes of explicit gore and violence, difficult to watch at times. The film received poor reviews. Ridley Scott did not attend the premiere because his mother had passed away at age ninety-five.
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Forshaw, Barry. "After the Silence." In The Silence of the Lambs. Liverpool University Press, 2013. http://dx.doi.org/10.3828/liverpool/9781906733650.003.0006.

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This chapter addresses the sequel to The Silence of the Lambs (1991), Ridley Scott's Hannibal (2001). Both the colour palette and the tone of the new film were different from its predecessor, with a greater emphasis on primary colours and atmospheric chiaroscuro effects, and the material's black humour more accentuated. In keeping with the director's expertise in the realm of the epic, Hannibal was placed within a much more geographically sprawling canvas, with a great deal of the film shot in a beautifully evoked Florence, the city in which Hannibal Lecter is masquerading as the expert in Renaissance art, ‘Dr Fell’. Ridley Scott's assumption of the directorial reins proved highly successful and the film enjoyed immense popularity, breaking several box office records as it wittily opened on Valentine's Day of 2001. If the talented Julianne Moore was able to do less with the character of Clarice Starling than her predecessor, this was perhaps due to the extra level of confidence the FBI agent has acquired by this stage of her life. Professional though the actress's work was throughout, neither she nor her director could produce the kind of touching verisimilitude that was Jodie Foster's stock-in-trade in the first film. The chapter then looks at the prequels: Brett Ratner's Red Dragon (2002) and Peter Webber's Hannibal Rising (2007).
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Forshaw, Barry. "Jonathan Demme’s the Silence of the Lambs." In The Silence of the Lambs. Liverpool University Press, 2013. http://dx.doi.org/10.3828/liverpool/9781906733650.003.0004.

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This chapter focuses on Jonathan Demme's The Silence of the Lambs (1991). The synthesis of elements that create the look and identity of a film come from a variety of talents: from the director's original conception, to the cinematographer's realisation of the same; to the production designer. In the case of The Silence of the Lambs, these three elements are in perfect harmony, producing a visual signature for the film which is highly distinctive and very specific to Demme's vision. The chapter then details the first meeting and the subsequent interviews between Hannibal Lecter and Clarice Starling. The initial meeting between Clarice and the murderous psychiatrist Lecter is one of the great set pieces of modern cinema. While clearly adhering to the imperatives of popular cinema, the sequence is shot and acted with a rigour worthy of the ‘chamber cinema’ of the Swedish master Ingmar Bergman in his late 1960s films — and this is not the only occasion in which the more rarefied agendas of art cinema are evoked by Demme and his collaborators. Another popular sequence is a perfect concatenation of all three elements of acting, writing, and direction, in which Lecter makes his devastating (and cruel) character analysis of Clarice. The chapter also explores the horror film credentials and accoutrements of the film.
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9

Oleson, James C. "Introduction." In Criminal Genius. University of California Press, 2016. http://dx.doi.org/10.1525/california/9780520282414.003.0001.

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Criminologists estimate the true volume of crime—the “dark figure”—to be approximately four times the size of crime reported in official statistics. Most crime goes unrecorded, and criminologists know far more about the criminal behavior of the poor, uneducated, and young than they do about the crimes of the wealthy, educated, and powerful. Although the criminal genius is a cherished villain in history (e.g., Nathan Leopold and Richard Loeb, Theodore Kaczynski, and Caryl Chessman), literature (e.g., Raskolnikov, Professor Moriarty, and John Galt), and film (e.g., Hannibal Lecter, Ernst Stavro Blofeld, Dr. Mabuse, and Ozymandias), little is actually known about the crimes of those possessing above-average IQ.
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10

Forshaw, Barry. "Hannibal’s Precursors." In The Silence of the Lambs. Liverpool University Press, 2013. http://dx.doi.org/10.3828/liverpool/9781906733650.003.0002.

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This chapter discusses the other serial killers in the cinema before Hannibal Lecter. In 1959, the writer Robert Bloch was inspired by the gruesome case of the Wisconsin mass murderer Ed Gein, with his keepsakes of bones and human skin. He transmuted elements of the Gein case into the phenomenally successful Psycho (published 1959), reconfiguring the real-life Gein as the chubby, unprepossessing mother's boy Norman Bates, who dispatches a variety of victims in gruesome fashion. Subsequently, Alfred Hitchcock's adaptation of the novel (1960) laid down the parameters for a variety of genres: the serial killer movie, the slasher film, and the modern big-budget horror film which utilises above-the-title stars rather than the journeyman actors who had populated such fare previously. But above all else, Hitchcock and his talented screenwriter Joseph Stefano created a template for the intelligent, richly developed, and charismatic fictional serial killer in their version of Norman Bates. Hitchcock's film was to influence a generation of film-makers and writers; among them Thomas Harris.
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