Relevant bibliographies by topics / Psychopaths in fiction

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

Academic literature on the topic 'Psychopaths in fiction'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Psychopaths in fiction"

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Pettitt, Joanne. "Popular Psychopaths and Holocaust Perpetrators: Fiction, Family, and Murder." Journal of Popular Culture 49, no. 6 (December 2016): 1301–19. http://dx.doi.org/10.1111/jpcu.12490.

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Krishna, Yadu R., and M. Ashitha Varghese. "The Narcissistic Rage in Making of a Psychopath: A Psychological Inquiry of Anita Nair’s Cut Like Wound." Shanlax International Journal of English 9, S1-Dec2020 (December 22, 2020): 67–69. http://dx.doi.org/10.34293/english.v9is1-dec2020.3622.

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Crime fictions are always celebrated in literature and among which psychopaths are the major interest of the crowd. Deeply analysing these characters of psychopaths one can find various psychological reasons behind them and this paper is intended to analyse one reasonbehind the psychopathic behaviour. The researcher has selected the character of Chikka from Anita Nair’s Cut like Wound.The objective of this paper is to analyse and understand the narcissism in the psychopath and then to identify the role narcissistic rage has played in the making of the psychopath. The researcher follows a step wise analysis of identifying the characters of a narcissist in the psychopath and then identifying the traces of narcissistic rage in the life of the psychopath which brings out the psychopath in him. The researcher has done a psychological reading of the text to understand these characteristics features of the psychopath.
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El Hajj, Murielle. "Analyse des réseaux de personnages dans les textes de Leslie Kaplan : du postmodernisme à l’inconscient." French Cultural Studies 32, no. 2 (April 8, 2021): 91–107. http://dx.doi.org/10.1177/09571558211002449.

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The texts of Leslie Kaplan question the irreducible opposition between the real and the non-real. Her characters and their intentional absence confuse the repository and fictional worlds, not only to point out the thin margin between reality and fiction, but to underline the impossible delimitation between the real and the fictional, or even between the text and the world. This article studies the characters of Kaplan and aims to demonstrate their identity crisis through the study of their literary onomastic and the use of the neutral pronoun ‘it’ and allegoric expressions. In addition, the objective of this article is to shed light on the Kaplanian characters as Kunderian models, while stressing the particularity of their physionomy, which consists to present ‘fuzzy’ characters that are present and absent at the same time, engaging the reader in the fictional process as a try to complete the missing details. This article concludes that the Kaplanian characters are not only the prototypes of the postmodern being, but they are also introverted, psychopaths and a demonstration of different facets of the unconscious.
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Rozali, Reza, Mulyono Mu, and Maharani Intan Andalas IRP. "FENOMENA PERILAKU PSIKOPAT DALAM NOVEL KATARSIS KARYA ANASTASIA AEMILIA: KAJIAN PSIKOLOGI SASTRA." Jurnal Sastra Indonesia 7, no. 3 (April 16, 2019): 173–78. http://dx.doi.org/10.15294/jsi.v7i3.29841.

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Kasus kriminalitas di Indonesia beberapa tahun terakhir menunjukkan peningkatan yang begitu memprihatinkan, serta pada beberapa kasus dikaitkan dengan gangguan gejala psikopat. Psikopat ialah bentuk kekalutan mental yang ditandai dengan tidak adanya pengorganisasian dan pengintegrasian pribadi, tidak bisa bertanggung jawab secara moral, selalu konflik dengan norma sosial dan hukum yang diciptakkan oleh angan-angannya sendiri. Penelitian ini bertujuan untuk mendeskripsikan fenomena perilaku psikopat pada novel Katarsis karya Anastasia Aemilia dengan pendekatan psikologi sastra, khususnya menggunakan teori gangguan kepribadian psikopat Sigmund Freud. Pada dasarnya psikologi sastra memberikan perhatian pada masalah kejiwaan para tokoh fiksional yang terkandung dalam karya sastra. Sasaran dalam penelitian ini adalah fenomena perilaku psikopat yang dialami oleh tokoh dengan mengkaji bentuk perilaku, dan faktor penyebabnya. Teknik analisis data yang digunakan adalah teknik deskriptif kualitatif. Berdasarkan hasil penelitian dapat diketahui bahwa (1) bentuk perilaku psikopat tokoh dalam novel Katarsis karya Anastasia Aemilia diketahui berdasarkan ciri perilaku khusus pada psikopat yaitu berperilaku antisoasial, suka memanipulasi, berperilaku agresif, berperilaku sadistis, serta tidak menyesal dan tidak merasa bersalah sehingga dapat ditentukan bentuk perilaku psikopat yang terbagi ke dalam tiga bentuk, yaitu ringan, sedang, dan berat. (2) Faktor yang menyebabkan tokoh dalam novel Katarsis berperilaku psikopat yaitu faktor biologis dan faktor lingkungan. Cases of criminality in Indonesia in recent years have shown such an alarming increase, and in some cases linked to psychopathic symptoms disorder. Psychopaths are forms of mental disorder that is characterized by lack of organization and personal integration, can not be morally responsible, always conflict with social norms and laws created by wishful thinking alone. This study aims to describe the phenomenon of psychopathic behavior in the novel Katarsis by Anastasia Aemilia with the approach of literature psychology, in particular using the theory of psychopath personality disorder from Sigmund Freud. Basically, literature psychology gives attention to the psychological problems of the fictional characters contained in the literary work. Target in this research is phenomenon of psychopathic behavior experienced by the character by studying the form of behavior, and the cause factor. Data analysis technique used is descriptive qualitative technique. Based on the results of the research can be seen that (1) the form of psychopathic behavior of characters in the novel Katarsis by Anastasia Aemilia is known based on specific behavior on the psychopath that is behaving antisoasial, like to manipulate, behave aggressively, behave sadistis, and not regret and not feel guilty, so it can be determined form psychopathic behavior is divided into three forms, a light, medium, and heavy. (2) Factors that cause characters in the novel Katarsis behave psychopaths namely biological factors and environmental factors.
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Żyto, Kamila. "Detours of absurdity: Coen brothers’ Fargo in the noir melting pot of genre patterns." Literatura i Kultura Popularna 24 (April 18, 2019): 39–54. http://dx.doi.org/10.19195/0867-7441.24.4.

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Detours of absurdity: Coen brothers’ Fargoin the noir melting pot of genre patternsThe idea of film noir, especially neo-noir, viewed as a stable and clear genre has as many supporters as detractors. The controversy is nothing new, and a compromise is still elusive. The reason for such an impasse is not merely the intransigent stance of opponents, the strength of their arguments, but is also a result of the hybridization of genres in main stream cinema and elsewhere. I discuss the problem presented by film noir in the context of the question of generic identity on the example of the Coen brothers’ Oscar-winning Fargo. The movie is an interesting case study as it does not make use of any of the genres typical for film noir in its unadulterated form i.e. genres associated with film noir in its classical era. In Fargo, Joel and Ethan Coen skillfully combine elements of the detective story though not necessarily associated with hard-boiled fiction with crime shows, gangster movie with thrillers about psychopaths, comedy with tragedy and family drama with melodrama of mischance. The result remains the same — the world of Fargo stays noir, dark and pessimistic and permeated with the absurd.
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Nurizkia Nabila, Yurza Aina Zia Ulhaq, and Eva Dwi Kurniawan. "Fenomena Perilaku Psikopat Dalam Novel Heartbeat Karya Jealoucy: Kajian Psikologi Sastra." Morfologi: Jurnal Ilmu Pendidikan, Bahasa, Sastra dan Budaya 2, no. 1 (January 16, 2024): 353–60. http://dx.doi.org/10.61132/morfologi.v2i1.345.

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In recent years, there has been an alarming increase in crime cases in Indonesia, sometimes linked to psychiatric symptoms. Psychosis is a form of mental disorder characterized by a lack of personal organization and integration, an inability to take moral responsibility, and frequent conflicts with social norms and laws due to illness.mental, created by your own imagination.This study aims to describe the phenomenon of psychopathic behavior in Jealoucy's novel Heartbeat using a literary psychology approach, specifically using Sigmund Freud's theory of psychopathic personality disorder.Basically, literary psychology deals with the psychology of fictional characters in literary works. The data analysis technique used is a qualitative descriptive technique. Based on the results of several studies, it can be seen that (1) the psychopathic behavior of the characters in Jealoucy's novel Heartbeat is known to be based on specific behavioral characteristics of psychopaths, specifically, their penchant for manipulation and action. aggressive, brutal behavior, without remorse or guilt, capable of recognizing forms of psychopathic behavior divided into 3 types: mild, moderate and severe. (2) The factors that cause the characters in the novel Heartbeat to have psychopathic behaviorare genetic factors and environmental factors.
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Leistedt, Samuel J., and Paul Linkowski. "Psychopathy and the Cinema: Fact or Fiction?" Journal of Forensic Sciences 59, no. 1 (December 13, 2013): 167–74. http://dx.doi.org/10.1111/1556-4029.12359.

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Noh, Dae-won. "Neuroscience and Narrative Ethics in Psychopath Fiction." Journal of Yeongju Language & Literature 47 (February 28, 2021): 337–61. http://dx.doi.org/10.30774/yjll.2021.02.47.337.

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Rahmawati, Ratih, Budi Rukhyana, and Mugiyanti Mugiyanti. "Gangguan Kepribadian Psikopatik Tokoh Utama Dalam Film Kokuhaku." IDEA : Jurnal Studi Jepang 3, no. 2 (December 25, 2021): 68–75. http://dx.doi.org/10.33751/idea.v3i2.4475.

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ABSTRACT: This research discusses the psychopathic personality disorder of the main character in the film Kokuhaku. This study aims to determine the psychopathic personality traits in the main character according to the theory of Robert D. Hare. The object of this research is the psychopathic personality disorder in the main character. The source of income data is obtained from the Kokuhaku film using the library research technique in the Kokuhaku film. This research draws references from supporting books, such as literature studies, fiction studies, personality psychology, and the internet.
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Sumner, Natasha. "Efnisien’s Trickster Wiles: Meanings, Motives, and Mental Illness in the Second Branch of the Mabinogi." Studia Celtica Posnaniensia 1, no. 1 (July 1, 2016): 73–89. http://dx.doi.org/10.1515/scp-2016-0005.

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Abstract This article examines the character of Efnisien in the Second Branch of the medieval Welsh collection of stories known as the Mabinogi. From the mid-nineteenth century until the present day, Efnisien has proved a troubling character for critical analysis. A preliminary examination shows that typologically, due to his antagonistic irrationality, he shares traits with both trickster and psychopathic figures. After highlighting these aspects of his characterisation, the article moves on to an analysis of Efnisien’s function in the text. It is observed that Efnisien’s irrationality is incongruous with the contingency and social relevance of the other characters’ actions. He is shown to be the erratic, motivational force within catastrophe, and as such, to personify the inexplicable nature of such life-altering events and lend meaning to uncertain circumstances. From a Žižekian analytic perspective, he functions as a repository figure of ideological excess enabling the rationalization of incomprehensible trauma and securing the fictive narrative in which meaning is produced. Efnisien – trickster, psychopath, figure of excess – is thus shown to be vital to the production of meaning in the Second Branch of the Mabinogi.
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Dissertations / Theses on the topic "Psychopaths in fiction"

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Olsson, Madeleine. "Representation of Psychopathic Characteristics in Fiction : A Transitivity Analysis of the Protagonist’s External and Internal Dialogue in the TV-series You." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-101833.

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The series You (2018) challenges the traditional characteristics of a protagonist and introducesthe audience to a psychopathic protagonist with traits which are typically recognised in thetraditional villain. This study investigates the portrayal of the fictional character JoeGoldberg’s psychopathic characteristics by analysing the language used in his external andinternal dialogues. More specifically, drawing on the tools of transitivity analysis (Halliday1985), the study focuses on the process types and corresponding semantic roles assigned tothe pronouns I and you used by the protagonist over the course of three strategically selectedepisodes of the series. The results of the qualitative and quantitative transitivity analysis ofinternal and external dialogues throughout three chosen episodes shows that in the internaldialogues Joe appears analytical and assigns attributes and actions to you which correspond tothe mental representation of the object of his desire, Beck. While Joe’s internal dialoguesascribe some appealing attributes to Beck, the transitivity analysis also shows that he identifiestraits of vulnerability, such as lack of confidence and being indolent in reaching her goals. Incontrast, Joe’s approach in the external dialogues continuously appears to project him as ahumble person who puts the needs of others before his own, expressing deep considerationand understanding of the needs and emotions of others. The audience is introduced to hismanipulative behaviour by this contrast between his external and internal dialogues, which ishighlighted by the transitivity analysis in the present study.
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Bentham, A. A. "Empathy for the devil : the poetics of identification in psychopath fiction." Thesis, University of Salford, 2014. http://usir.salford.ac.uk/31950/.

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As Philip L. Simpson notes, humankind has an ‘ongoing ... fascination with tales of gruesome murders and evil villains’ (15). Popular culture abounds with depictions of the mad and the bad; and perhaps no single disorder holds as much morbid appeal as psychopathy, the baffling condition which combines what Hervey M. Cleckley terms a ‘mask of sanity’, with a seeming lack of the qualities usually deemed to constitute humanity. My thesis focuses on how authors have sought to explain, interpret and understand the psychopathic individual, and explores how literary techniques have manipulated readers’ responses to the moral questions posed by psychopathic characters. Between the mid-nineteenth century and the present day, authors have increasingly used empathetic narrative techniques to encourage readers to identify with and accept the villains whose stories they so voraciously consume. I track the transitions in narrative style, structure and form which take us from depictions of the psychopath as fiendish ‘other’, for example Rigaud in Charles Dickens’s Little Dorrit, to modern portrayals of the psychopathic murderer as hero, as seen in Jeff Lindsay’s series of Dexter novels. I consider what the reader gains from reading such material and how we as readers negotiate the paradox of empathising with characters who are themselves incapable of empathy. I also explore whether cultural fascination with the psychopath is based on a desire to understand the workings of the psychopathic mind, a perverse delight in our fear of the aberrant ‘other’, or whether it reveals something altogether darker and more disturbing about ourselves.
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Molini, Nicola. "Il voice-over nella traduzione audiovisiva: caratteristiche distintive e proposta di adattamento in italiano del documentario I am fishead: are corporate leaders egostistical psychopaths?" Master's thesis, Alma Mater Studiorum - Università di Bologna, 2019. http://amslaurea.unibo.it/17940/.

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The aim of this work is to offer a thorough definition of voice-over as an audiovisual translation mode, list and describe its distinctive features, comparing different opinions by various scholars, and implement them to adapt a real documentary film from US English into Italian, while showing the challenges found during the translation process, explaining how they were dealt with and providing a work-streamlining model for future translators. Voice-over has often been neglected in translation studies literature, but it has been recently matching the popularity it has in the audiovisual market, where it is the main mode of translation for non-fictional products, at least in the Western world. The film chosen for this dissertation is entitled I am fishead: are corporate leaders egotistical psychopath?, by Czech directors Misha Votruba and Vaclav Dejcmar. It deals mainly with psychopathy, and more specifically corporate psychopathy, as one can tell from the title, and the abuse of antidepressants and psychiatric medications in the USA.
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Whiting, Frederick Peter. "Monstrous desires : psychopathy and subjectivity in Cold War America /." 2000. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:9965173.

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Books on the topic "Psychopaths in fiction"

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Ablow, Keith Russell. Psychopath. New York: St. Martin's, 2003.

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Wolff, Geoffrey. Providence: A novel. New York: Viking, 1986.

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Copyright Paperback Collection (Library of Congress), ed. Old flames. New York: Leisure Books, 2008.

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Iles, Greg. 24 horas. Buenos Aires: Emecé Editores, 2001.

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Chattam, Maxime. Que ta volonté soit faite: Roman. Paris: Albin Michel, 2015.

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Cook, Thomas H. Blood innocents. Unity, Me: Five Star, 1999.

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Wolff, Geoffrey. Providence: A novel. New York: Vintage Books, 1991.

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Ottosyrin, Hanna Irene. The linear force. [S.l.]: Mastrogiacomo Publishers, 1996.

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Margaret, Carroll. A dark love. New York: Avon, 2009.

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Atkins, Charles. The prodigy: A novel of suspense. Woodbury, Minn: Midnight Ink, 2008.

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Book chapters on the topic "Psychopaths in fiction"

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Piechowski-Jozwiak, Bartlomiej, and Julien Bogousslavsky. "Psychopathic Characters in Fiction." In Literary Medicine: Brain Disease and Doctors in Novels, Theater, and Film, 60–68. Basel: S. KARGER AG, 2013. http://dx.doi.org/10.1159/000345058.

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Carabantes, Manuel. "Sade’s Psychopath as Prototypical Man of the Enlightenment." In Fictional Worlds and the Moral Imagination, 151–72. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-55049-3_9.

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Murphy, Bernice M. "Masks of Sanity: Psychopathy and the Twentieth-Century Gothic." In Twentieth-Century Gothic, 213–27. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474490122.003.0014.

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This chapter focusses on the rise of the psychopath in the twentieth-century imagination. In his 1941 volume The Mask of Sanity, psychiatrist Hervey Cleckley famously posited that psychopathy could be distinguished from ‘orthodox psychoses’ because it was not readily apparent to the outside observer. Here, Cleckley declared, ‘[t]he observer is confronted with a convincing mask of sanity’. Using this phrase as a starting point, the chapter discusses the cultural impact made by the idea of the psychopath in middle to late twentieth-century gothic fiction, focussing upon post-war texts including Dorothy B. Hughes’ 1947 novel In a Lonely Place, Jim Thompson’s The Killer Inside Me (1952), William March’s The Bad Seed (1954), John Fowles’ The Collector (1963) and Tim Krabbe’s The Golden Egg (aka The Vanishing, 1984). The cold, ruthless, and scheming ‘killer who hides amongst us’ trope fitted in perfectly with the post-WWII move away from horrors of a supernatural nature to those of a very human variety.
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"Psychopathia Sexualis: Stevenson's Strange Case." In Reading Fin de Siècle Fictions, 74–89. Routledge, 2014. http://dx.doi.org/10.4324/9781315843636-11.

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Wijdicks, Eelco F. M. "Mental Illness." In Cinema, MD, 115–48. Oxford University Press, 2020. http://dx.doi.org/10.1093/med/9780190685799.003.0006.

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This chapter analyzes the ways that films showcase personality disorders and the common psychiatric disorders. Screenwriters have long been interested in the portrayal of psychiatrists and personality disorders. The explanation is obvious: abnormal, irrational behavior provides a rich, endless source of material. and. Many filmmakers explore the impact of psychiatric disorders on relatives. However, the stigmatization of mental illness and its association with murder and mayhem have not been minimized by cinema in its short history. Cinematic depictions of psychiatric disorders are short on theme development and direct disproportionate attention to the (extremely rare) split-personality disorders, hyper-sexuality, and “psychopathic killers.” Nevertheless there are a number of noteworthy works both in fiction and documentary form. Huston’s film on PTSD remains an important contribution and provides a glimpse of what could affect soldiers in battle. Fiction film has been enamored with psychoanalysis.
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Mustafa, Jamil. "Strange Cases of the Queer fin de siècle : Law, Medicine and the Gothic Imaginative Mode." In Queer Gothic, 58–77. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9781474494380.003.0004.

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This chapter finishes out the Victorian Era by scrutinising the intersections of law and medicine in fin-de-siècle Queer Gothic. The author sheds new light on the connections and ways that juridical and medical language and ideas surrounding criminality, disease, and homosexuality play out in three classic end-of-century Gothic tales: Robert Louis Stevenson’s Strange Case of Dr Jekyll and Mr Hyde (1886); Arthur Machen’s best-known piece of ‘weird fiction’ – The Great God Pan (1894); and, Bram Stoker’s Dracula (1897). While many pieces written on these three stories employ sexological discourse as a tool to understand the stories better, this author, instead, turns to Richard von Krafft-Ebing’s Psychopathia Sexualis (1886) as another ‘strange case’ that, through medical jargon, also makes congenital homosexuality and transsexuality monstrous. The overlap between Krafft-Ebing’s patients’ lived experiences, his prurient reporting of them, and the exploration of the queer fictional characters urges the reader to consider the ways that laws and medical practices not only informed the literature, but the ways that literature informed legal and medical ‘truths’ and policies toward queer and trans people at the end of the nineteenth-century.
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Murphy, Bernice M. "The Dark Side of ‘the Good Life’: California and the Birth of Modern Horror." In The California Gothic in Fiction and Film, 69–112. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474497862.003.0003.

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The chapter discusses Chinatown’s (1974) bleak depiction of Southern California’s rapid infrastructural development. Then it discusses a movement identified by the Los Angeles Times critic Robert A. Kirsch, who identified the tendency to engage with contemporary anxieties which made California the region which, more than any other, shaped the direction of post-war American horror in fiction and film. Works by Richard Matheson and Shirley Jackson are discussed in relation to California’s relationship with the ‘Suburban Gothic’ sub-genre, as is the 2021 television show Them, which depicts 1950s Californian suburbia from an African American perspective. The chapter briefly discusses the ways in which two Hitchcock films – Shadow of a Doubt (1943) and Psycho (1960) – anticipated the wider national preoccupation with the activities of dangerous (and white) ‘rogue males’ whose acts of psychopathic violence would, from the 1970s onwards, became irrevocably associated with California thanks to the activities of serial killers such as Ed Kemper, the Zodiac Killer, and Joseph D’Angelo, the ‘Golden State Killer’. The chapter concludes by discussing Joel Schumacher’s 1987 vampire film The Lost Boys, which is set in a fictionalised version of Santa Cruz, the Californian city most irrevocably associated with serial murder in the 1970s.
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Escolar, Marisa. "The Redemption of Saint Paul." In Allied Encounters, 132–52. Fordham University Press, 2019. http://dx.doi.org/10.5422/fordham/9780823284504.003.0007.

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This chapter analyzes Norman Lewis’s Naples ’44 (1978), the text that most widely perpetuated the gendered redemption paradigm traced in this book. As a British “wedding officer” in Naples, Lewis judges Neapolitan women, distinguishing war brides and rape victims among a sea of prostitutes. This work is not about determining the women’s status but about staging his redemption: starting as a hard-nosed officer, Lewis’s character “dies” and is reborn as the Dantean narrator, making his supposedly anti-fictional diary a conversion narrative, much like John Horne Burns’s The Gallery. As the chapter charts Officer Lewis’s conversion, it puts his diary-novel in dialog with The Gallery and Curzio Malaparte’s La pelle (The Skin), whose spectacles Naples ’44 rewrites in more direct prose. Treated as anti-fictional by historians, Naples ’44 has arbitrated the sexuality of Neapolitan women and the men who love, purchase, or violate them. Lewis represents all Neapolitans as whores and all goumiers “as sexual psychopaths” and yet still emerges as the authoritative narrator. The chapter ends with a reflection on the contemporary cinematic adaption, Naples’44, directed by Francesco Patierno.
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Trotter, David. "Career Development: William Godwin, Wilkie Collins, and the Psychopathies of Expertise." In Paranoid Modernism, 81–126. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780198187554.003.0004.

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Abstract The subject of my first two chapters was the discovery or fabrication, during the nineteenth century, of an ‘ecological niche’, in Ian Hacking’s phrase, within which the disease entity we now call paranoia might take shape, and within which it has survived, more or less intact, despite significant changes of emphasis, to this day. Early psychiatry’s symptomatologics and case-histories constituted a way to think about and to represent a certain kind of behaviour, a certain attitude: a kind of behaviour and an attitude, familiar enough in society at large, the extreme version of which the asylums were built to contain (and perhaps in some sense to preserve). In the chapters which follow, I shall explore a sample of nineteenth- and twentieth-century English fiction: a different way to define, and significantly redefine, the same kind of behaviour, the same attitude.
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Leeder, Murray, and Murray Leeder. "A Very Sinister Doctor and a Cosmic Monster." In Halloween, 83–94. Liverpool University Press, 2015. http://dx.doi.org/10.3828/liverpool/9781906733797.003.0006.

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This chapter focuses on the character of Dr. Sam Loomis, Michael Myers's psychiatrist. Loomis's only accomplishments in the film Halloween (1978) are entirely outside of his training as a psychiatrist, and may even run counter to it. Terms like ‘psychopath’, ‘schizophrenic’, and ‘neurotic’ appear nowhere in Halloween, and even ‘catatonic’ appears only in the extended television cut. All of Loomis's therapeutic methods have not allowed him to understand, let alone help, Michael, and the psychiatric establishment around him has done little to recognise and prepare for the threat that he rightly feels Michael represents. Loomis provides a link to another tradition of horror fiction, in which doctors and scientists investigate and confront monsters and supernatural phenomena. His character is also reminiscent of the tormented scholars who prove to be some of the more capable protagonists in H.P. Lovecraft's short stories. Though John Carpenter's work is probably more dependent on a ‘homocentric’ worldview than Lovecraft, Lovecraft's mode of cosmic indifferentism provides a framework for addressing the old question of what motivates Michael, while reconsidering the film within the generic framework of cosmic horror.
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