David Fincher&#039;s Zodiac

Matthew Sorrento; David Ryan

doi:10.5771/9781683933274

Summary

David Fincher’s Zodiac (2007), written by producer James Vanderbilt and adapted from the true crime works of Robert Graysmith, remains one of the most respected films of the early twenty-first century. As the second film featuring a serial killer (and the first based on fact) by Fincher, Zodiac remains a standout in a varied but stylistically unified career. While connected to this genre, the film also hybridizes the policier genre and the investigative reporter film. And yet, scholarship has largely ignored the film.

This collection is the first book-length work of criticism dedicated to the film. Section One focuses on early influences, while the second section analyzes the film’s unique treatment of narrative. The book closes with a section focusing on game theory, data and hegemony, the Zodiac’s treatment in music, and the use of sound in cinema. By offering new avenues and continuing a few established ones, this book will interest scholars of cinema and true crime along with fans and enthusiasts in these areas.

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Bibliographic data

Copyright year: 2022
ISBN-Print: 978-1-68393-326-7
ISBN-Online: 978-1-68393-327-4
Publisher: Lexington, Lanham
Language: English
Pages: 260
Product type: Edited Book

1. Contents No access
2. Acknowledgments No access
3. 1. References No access
1. Notes No access
2. References No access
1. 1. Shaping the Serial Killer, Censoring the Monstrous No access
  2. Spatiality in Earlier Crime Cinema No access
  3. Cine-Space for the Mass Killer: Targets No access
  4. Notes No access
  5. References No access
2. 1. The Zodiac and the Cinema: A Reciprocal Relationship No access
  2. The Zodiac Killer (Tom Hanson, 1971) No access
  3. Sam Dobbs Meets the Zodiac (John Lamb, 1971) No access
  4. Dirty Harry (Don Siegel, 1971) No access
  5. Lou Grant: “Samaritan” (Paul Leaf, CBS, 1979) No access
  6. Notes No access
  7. References No access
3. 1. “I’m Gonna Have to Stab You People!” No access
  2. “Catch That Son of a Bitch!” No access
  3. “I’m So Very Thrilled You Like Them” No access
  4. “The Best We Could for What We Had” No access
  5. References No access
1. 1. References No access
2. 1. Zodiac as a Private Eye Film No access
  2. Zodiac and the Unofficial Investigator Film No access
  3. Graysmith as “Criminalist” No access
  4. Notions of Failure No access
  5. Masculinties in Zodiac No access
  6. Failing to Detect in Zodiac No access
  7. Closure in Zodiac No access
  8. Conclusion No access
  9. Notes No access
  10. References No access
3. 1. Methodology No access
  2. The Anti-Ethos of the Letters No access
  3. The Role of Intelligence in the Zodiac’s Ethos No access
  4. The Style of the Zodiac No access
  5. References No access
4. 1. References No access
1. 1. Notes No access
  2. References No access
2. 1. Introduction No access
  2. Art-Horror and the Possibility of the Real in Film No access
  3. Art-Horror and Music No access
  4. Zodiac Killer in Music No access
  5. Conclusion No access
  6. NoteS No access
  7. References No access
3. 1. Encoding Epistemology No access
  2. Diagnosing a Headache No access
  3. “He Wishes to Remain Anonymous, I Wish to Remain Infamous” No access
  4. The Gothic Archive No access
  5. “The Zodiac Killer Is Obsessed with Movies” No access
  6. Notes No access
  7. References No access
4. 1. Methodology: Inspecting Game Theory No access
  2. Game Theory: Individual Dilemmas and Organizational Responses12 No access
  3. Coercive Gaming: Designing Deterrent Moves and Compellent Countermoves No access
  4. Cognitive Strategies and Work: Well-Structured and Ill-Structured Task Environments No access
  5. Negative and Positive Sum Games: the Serial Killer’s Dilemma: the Mens Rea and Actus Rea of the Serial Killer’s Dilemma No access
  6. Conclusion No access
  7. Notes No access
  8. References No access
5. 1. Sound, Radio, and Possibilities for Violence No access
  2. Zodiac and the Audiovisual Allure of Violence No access
  3. Speaking about Violence and Speaking Violence No access
  4. Mindhunter and the Violence of Words No access
  5. Conclusion No access
  6. Note No access
  7. References No access
Index No access Pages 251 - 256
About the Contributors No access Pages 257 - 260