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Journeys on ScreenTheory, Ethics, Aesthetics$
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Louis Bayman and Natália Pinazza

Print publication date: 2018

Print ISBN-13: 9781474421836

Published to Edinburgh Scholarship Online: September 2019

DOI: 10.3366/edinburgh/9781474421836.001.0001

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PRINTED FROM EDINBURGH SCHOLARSHIP ONLINE (www.edinburgh.universitypressscholarship.com). (c) Copyright Edinburgh University Press, 2019. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in ESO for personal use.date: 18 November 2019

Sic transit: The Serial Killer Road Movie

Sic transit: The Serial Killer Road Movie

Chapter:
(p.270) Chapter 16 Sic transit: The Serial Killer Road Movie
Source:
Journeys on Screen
Author(s):

Louis Bayman

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9781474421836.003.0017

This chapter considers the serial killer road movie through a comparison of Henry: Portrait of a Serial Killer (USA, 1987) and Sightseers (UK, 2012). After outlining the importance of mobility in conceptualizing the serial killer, it establishes the historical specificity of the serial killer road movie as an anti-humanist inversion of the road movie belonging to late capitalist society. The chapter seeks to show how the combination of serial killer and road joins two modern mythologies, understood here within the different contexts of American independent cinema and British comedy. The chapter considers how mobility characterizes the killers in both films as radically other, yet expressive of something essential to the place from which they emerge. Considering respectively the importance of the post-industrial decay of Henry and the eccentricity of British manners in Sightseers, the chapter outlines the different meanings of the road in British as opposed to US culture, and the special narrational position of remove that cinematic mobility can produce.

Keywords:   Serial killers, Road movie, Mobility, American indie, British comedy, Fordism, Henry: Portrait of a Serial Killer, Sightseers

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