No full-text available
To read the full-text of this research,
you can request a copy directly from the authors.
Collateral Materials in Sexual Crimes
... 13 Low selfconfidence may be primary motive for abducting victims. 5 (Table 2). ...
... This category captures offenders who are Pedophilic, Hebephilic, or Ephebophilic as well as the situational sexual offender. 4,5 These offenders likely have a sexual attraction to children or adolescents and experience sexually orientated fantasies of minors and likely a desire to act on their thoughts and impulses. These offenders are not out-of-control but may feel as though they are driven to act on their fantasies and desires. ...
... Situational and preferential sex offenders.4,5,13 ...
Many police investigators do not fully understand the role that pornography plays in violence. We have come to understand how sex offenders use pornography to support their deviant and violent fantasies which in turn support deviant and violent behavior. In addition, abusers, including those that commit domestic abuse or child abuse, almost all use pornography to feed their deviant and violent fantasies as well. With this understanding, it is imperative for the investigator to not only find the sexual offenders and physical batterer?s pornography but to review the pornography to determine the preference and intent of the offender?s crime. The offender?s pornography (the type, theme, and content of the pornography) is an indicator of what the offender would like to do, and in some cases, what they have already done. In fact, most pornography displays women whose facial expressions clearly are indicative of fear, discomfort, anger, frustration, surprise, or a neutral, void expression. These expressions are contrary to what we would expect of consensual, appropriate sexual partners.
The most gripping and recurrent visualizations of the "monstrous" in the media and film lay bare the tensions that underlie the contemporary construction of the "monstrous," which ranges in the twilit realm where divisions separating fact, fiction, and myth are porous—a gothic mode. There appear to be two monstrous figures in contemporary popular culture whose constructions blur into each other, and who most powerfully evoke not only our deepest fears and taboos, but also our most repressed fantasies and desires: the serial killer and the vampire. The social construction of these figures, in feature films that invoke the genre traditions of the documentary, melodrama, horror-psychological thriller, and romance form a significant section of this article; it is the easy slippage between cinema-verité depictions and horror-psychological thriller narrative modes that renders the gothicization of the serial killer as vampire compelling. This social construction will not only cover the cinematic depictions of these figures and their significance in terms of a critique of popular culture, but also in terms of contemporary criminological theories concerning how to discuss "evil" in relation to depictions of crime and the deviant. The ongoing fascination with the serial killer, both in the Hollywood film and criminological case studies, points to the emergence of a "gothic criminology," with its focus on themes such as blood lust, compulsion, godlike vengeance, and power and domination. Rather than assuming that film is a medium that tells us little about the reality of criminological phenomena, gothic criminology as envisaged here, recognizes the complementarity of academic and aesthetic accounts of deviant behavior.
ResearchGate has not been able to resolve any references for this publication.