Samplers and Copycats: The Cultural Implications of the Postmodern Slasher in Contemporary American Film
Midway through Jon Amiel's Copycat (1995), the copycat killer transcribes the lyrics to Sting's "Murder by Numbers" on the back of a note he has left for police. Listeners familiar with the song will know that the composition he has chosen to appropriate is one in which Sting pla...
| Autor principal: | |
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| Tipo de documento: | Electrónico Artículo |
| Lenguaje: | Inglés |
| Verificar disponibilidad: | HBZ Gateway |
| Interlibrary Loan: | Interlibrary Loan for the Fachinformationsdienste (Specialized Information Services in Germany) |
| Publicado: |
1998
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| En: |
The journal of popular film and television
Año: 1998, Volumen: 26, Número: 3, Páginas: 98-107 |
| (Cadenas de) Palabra clave estándar: | B
Girard, René 1923-2015
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| Acceso en línea: |
Volltext (lizenzpflichtig) |
| Sumario: | Midway through Jon Amiel's Copycat (1995), the copycat killer transcribes the lyrics to Sting's "Murder by Numbers" on the back of a note he has left for police. Listeners familiar with the song will know that the composition he has chosen to appropriate is one in which Sting playfully addresses Western society's growing obsession with homicide, offering, among other things, advice on how "to turn a murder into art." |
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| ISSN: | 1930-6458 |
| Obras secundarias: | Enthalten in: The journal of popular film and television
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| Persistent identifiers: | DOI: 10.1080/01956059809602780 |
