Titlebook: Jack the Ripper in Film and Culture; Top Hat, Gladstone B Clare Smith Book 2016 The Editor(s) (if applicable) and The Author(s) 2016 murder

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使成核

2947-8340 ever caught, yet film and television depicts a killer with a recognisable costume, motive and persona. This book examines the origins of the screen presentation of the four key elements associated with the murders – Jack the Ripper, the victims, the detective and Whitechapel. Nineteenth-century hist

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欲望小妹

代替

Jack the Ripper,ts narrative toward the Ripper was the unveiling of the museum sign. The sign depicts the silhouette of a figure in a top hat and cape with a smear of blood at his feet. The screen Ripper masquerading as the historic unknown Ripper.

諂媚于性

Introduction,k to solve the mystery, there are already enough investigators, but to examine how Jack the Ripper, the women who were murdered, the detectives that investigated the murders and the murder site of Whitechapel have been depicted on screen, from their first appearance in . (Germany 1924: Leni) to . (US 2010: Johnston).

一窩小鳥

Historical and Cultural Context,le. After viewing Hanbury Street the crowd could move onto Whitechapel Road where a waxworks had opened, using wax mannequins daubed with red paint to depict the victims of ‘’orrible murder’, which could be enjoyed for a penny. The relationship between Jack the Ripper and popular entertainment had begun.

污點(diǎn)

Feminist Film Theory, about castration anxiety and scopophilia to explain the fascination of film for the male spectator. Mulvey argues that cinema reflects the patriarchal nature of Western culture, where men are the active/spectator while women are the passive/spectacle.

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