The aim of this article is to posit a conceptual model for the way ideas, conceptions, or feelings are represented or ‘figured’ in memory with the help of the imagination, and to use this model to begin to outline what I believe constitutes part of our culture’s ‘memory-image’ of the serial killer in both fact and fiction. Human memory is not simply a passive storehouse of information. It is an active process whereby relations are created by way of the imagination. (...) The ‘memory image’ is connected to what we wish to remember, but also to other images stored in memory, and inscribes itself in a vast ‘figural network’. I show how a given metaphor – ‘capitalism as cannibalism’ – can find its way in a given figural network, that of our memory-image of the serial killer. I investigate the rhetorical network that surrounds cannibalism and examine how this network offers our imagination a topos for our memory-image of the serial killer. Finally, I look at two films that activate this topos in their representation of serial killing, even though they avoid any direct thematization of it. The absence of any act of cannibalism in these films makes its ‘presence’ in our experience of them all the more compelling. (shrink)

The self has been a consistently central theme in philosophy and the social sciences and, in the last decades of the 20th century, the fragmentation of the modern self has engendered extensive academic commentary. In order to contribute to current discussions about self, it is perhaps most effective to map the transformation of a single representation of the self in contemporary culture. As a cultural ‘flashpoint’, the serial killer could provide an apposite analytical focus. Drawing critically on Mark Seltzer's work (...) on serial killers this article interprets serial killing as a form of commodified transgression. In contrast to the modern self, established through state-institutionalized routines, serial killers establish their identities through ecstatic intercourse. These acts of bodily and ethical transgression are facilitated by the use of commodities. In this way, the serial killer represents a self which is consistent with the colonization of interpersonal relations by multinational capital. The serial killer signifies the appearance of a postmodern self. (shrink)