![]() ![]() ![]() The serial killers in the show attempt to establish their own unique identity through their signature bizarre crimes yet, these crimes are constantly repeated with a twist by Hannibal, who in this way both steals the other killers' identity and establishes his own. The performativity theory is used to look at how the murders, with their outlandish and extreme brutality, become metonymy for creating one’s identity. In this book chapter the extremely bizarre nature of the presented crimes and their function are discussed. ![]() The characteristic feature of the series is the grotesqueness of the murders: female bodies pierced by antlers a throat cut open to shove a violin bridge through a human totem on the beach made of old and new pieces of victims – the list is long and appalling. ![]() It is loosely based on the novels by Thomas Harris and the accompanying films. The latest example is “Hannibal” (2013- ), a television series created by Bryan Fuller for NBC. Such theatricality of serial crime made it one of the favourite themes for popular culture. A specific positioning of the body and accompanying scenarios, settings, props or costumes all serve to boast, to leave a mark and to communicate the murderer’s twisted message to the onlookers. Performativity is at times a crucial component of serial murder. ![]()
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