answer one of the following in each bullet

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••Choose One Question

  1. In David Schmid’s Natural Born Celebrities, the author argues that early Puritans controlled the narrative of the killers in their midst, while modern storytellers and filmmakers have lost control of the narrative. Explain historically, how early Puritans used serial killer tales to create a better audience vs. our own serial killer films and stories. Use specific examples of past and present to achieve full points on this question.
  2. Also in Natural Born Celebrities, Schmid argues that there is a complex structure of blame regarding the sexuality of killers and victims alike. Construct a series of examples that showcases and explains how sexuality plays into our fascination with serial killers—and how we shift blame because of it. Why does the sexuality of killer or victim matter?

••Choose One Question

  1. Re-read Ch. 48 of Perfume. After Grenouille is captured, the village crowd does not believe that it could be him—even though the evidence is laid out right before their eyes. Compare and use examples from Perfume and other media (film or novels) in the class, to show why this idea of what we’d expect from a serial killer vs. how he/she really looks/exists is important.
  2. As we discussed in class, the novel You asks us to fall in love with a serial killer at the heart of the story. Compare and use examples from You and other media (film or novels) in the class, to showcase and explain how these stories ask us to identify or “have feelings for” the serial killers themselves. And more importantly, what is the “real world” effect of asking us to identify with serial killers?

••Choose One Question

  1. In the popular culture forms of Frankenstein, much time is spent on the construction of the monster, but the films often leave out the moral questions of how society created him after his escape from Dr. Frankenstein’s laboratory. Rectify this error by explaining how human society constructed the monster through their own actions—rather than dealing with how Dr. Frankenstein scientifically did it. Using specific examples from the text, show us how you believe the monster came into being—once he left the lab. How does your answer address the larger “real world” question of where serial killers come from?
  2. Mary Shelley uses a reference text in another work, Paradise Lost, quite often in the novel. The epic poem tells the tale of Satan’s fall from heaven, and the forthcoming rise of Adam and Christ as heroes. Initially, though, the poem asks us to identify with Satan—a fallen and imperfect creature. Does Frankenstein ask us to side with the monster or with society in general? How does this moral question about where our sympathies lie, construct a “real world” answer about how serial killer stories change us after reading them? Are we really better for having read/seen them?
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