Tal

Leor Tal
Jennifer Enoch
ENC1145
11 September 2014
Paper One

Producer Bryan Fuller transformed the Red Dragon novel and the Hannibal
movies into a psychological thriller television series, Hannibal. Hannibal uncovers a
modern and more suspenseful subset of the detective genre, diving into the realm of serial
killers and cannibals. Will Graham, the main character and criminal profiler that serves as
the shows lead detective, proves his ability to solve, unlike any other profiler or
detective, almost all of the cases that arise, solidifying his presence on the FBI team.
Using his intuition, he shortly discovers a copycat criminal hidden within the cases he
constantly solves. The greatest mystery to his FBI coworkers and to Will Graham himself
is how the copycat seizes the case information to produce similar crimes. Watchers
shortly realize that the infamous and highly esteemed Dr. Hannibal Lector, Will
Grahams psychiatrist, committed the various atrocities, exploiting Wills position to hide
his identity and supply him with crimes to duplicate, persuading Will into growing more
insane, and utilizing his own standing to convince FBI Special Agent Jack Crawford that
Wills hysteria is responsible for the corruptions committed. Not only do watchers realize
that Dr. Lector possesses this amount of power and the potential to commit such heinous
crimes, but they later become conscious of the cannibalism that Dr. Lector participates in
throughout the series. Towards the end of season one, however, Will epiphanizes Dr.
Lectors true nature. Regardless, Wills credibility within the FBI team has diminished so
rapidly due to both his debilitating mental health and Dr. Lectors influence that the

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remaining members no longer believe his theory. Throughout the season, Will struggles
to maintain sanity while solving crimes, Jack Crawford and the others battle the ethical
notion of Wills presence on the team, and Dr. Lector deepens his ties with both Will and
the crew whilst continuing his cannibalistic rituals. Hannibal, therefore, sits at the climax
of neo-detective fiction by pushing the boundaries of the classic genre, incorporating
supporting genres to enhance the suspenseful extremities, and manipulating several
modes in order to create additional tension whilst building relationships between
characters.
In The Figure of the Detective, Charles Brownson compellingly argues which key
characteristics comprise detective fiction, claiming that five components are necessary to
the construction of this genre (12). Operating on this definition demonstrates that the
psychological thriller-horror television show, Hannibal, remains, at its core, a detective
fiction. Brownson claims that the community within this genre must first have a stable
society living under a code of law that is generally accepted by citizens who are willing
to give up some of their rights and resources to see that the laws are enforced (13). This
code of law is illustrated by the FBIs investigation of the crimes, proving that some
degree of enforcement exists and punishment arises when those set of rules are
disregarded. As Brownson describes, murder, the type of crime appearing throughout the
series, principally threatens social order while amplifying the pressure placed onto the
detective to discover the identity of who committed the atrocities (13). Hannibal
intensifies the thrill by adding an element of cannibalism to the suspense of catching the
culprit. Not only does the show include extreme and vivid depictions of murderous crime
scenes, but many clips offer glimpses of Dr. Lectors passion for slaying and sauting the

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remains of his victims. Watchers are likely to find Dr. Lectors hobby disturbing and
therefore furthering the desire for Will to discover the identity of The Copycat,
strengthening its standing in the detective fiction genre whilst contributing to the pressure
in every episode. Hence, Hannibal pushes the boundary of detective fiction by not just
including murder, a popular and immensely anxiety-ridden characteristic of the genre, but
by also introducing a heinous and extremely immoral crime into the plot.
Throughout the series, two criminals are almost always investigated - the one
most prevalent to the episode and The Copycat, whom watchers shortly realize is Dr.
Lector. While one murder makes headlines and is brought to the attention of the FBI
team, another, killed and presented in a very similar manner, arises. One key
characteristic differentiates itself from the original crime scene, allowing Will to
eventually distinguish which homicides are committed by whom. In due course, these
copycat crimes become more distinct in their pattern, artistic demonstration, and motives.
Therefore, watchers are presented with the more urgent criminal and the suspense of
solving the identity of the second killer. The two killer aspect of the show intensifies the
plot while violating the norm of the one killer per book or episode, a key feature in the
detective fiction. Both criminals are members of the society, while one, Dr. Lector,
belongs to the inner circle of the investigation. The potential to compromise the FBI and
Wills work pushes the envelope of detective fiction once more. The criminal shifts from
solely remaining an outsider to becoming a part of the detective team itself, thereby
increasing the overall tension and excitement of each episode.
Despite the incongruent titles, Will Graham, the shows psychologist and profiler,
acts as the detective, solving crimes unlike any other individual in his field. He uses

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rationality, but most importantly, empathy to discover each killer and their motives. What
distinguishes Will from most profilers and what solidifies his presence on the team
despite his growing mental instability, is his ability to backtrack the events of the crime in
his head and understand the emotions and thoughts of the criminal. His ultimate demise
results from the capability to not only comprehend the killer, but become the killer.
Mirroring Brownsons assertions, Will conflicts internally between rationality and
intuition, between having this rare dexterity and battling mental desecration, and between
the sense of what is emotion or empathy and what is fact (14). Brownson claims further
that the Detective be not himself physically threatened or liable to be murdered (15).
Dr. Lector expresses his desire for friendship with Will to his own psychiatrist, providing
evidence that no physical threat on Wills life is present. What becomes stretched in
Hannibal, therefore, is Dr. Lectors threat on Wills mentality. The detectives bond with
the criminal allows for no physical harm to occur, as Dr. Lector revers Wills life, yet it
appears to not protect his disposition. The complexity of a bond between two natural
enemies also supplies an added element of tension within the investigative team and the
show itself. Viewers passively watch as Will mistakenly trusts his psychiatrist, Dr. Lector
manipulates Will into madness, and the FBI builds trust with the cannibal. The plots
depth, therefore, reflects the accumulation of anxiety and suspense felt in each scene.
Moreover, innocent bystanders are ever present in the show. Many are in the
background of the scenes. Lastly, the camera itself acts as the chronicler, allowing
viewers to passively watch the cutting of vocal cords, the preparation of human meat, and
the events of crimes themselves. The cameras shots dont misdirect watchers or withhold
information from them. While Dr. Lector deceives Will and his FBI cohorts for the

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majority of the show, viewers nearly always understand who to trust and what is
happening due to the cameras narration.
Although the essence of Hannibal follows the guidelines described by Brownson,
which are accepted by most as the key characteristics of the detective fiction genre, the
television show also incorporates elements of the psychological thriller. Viewers track the
regression of Wills mental stability as his disease strengthens, his control over his
abilities weaken, and Dr. Lectors grasp on his mindset tighten. Hannibal does an
outstanding job juggling and balancing its emphasis on the psychology of each character
and on the double-layered plot of each episode. Neither concept masks the other, thereby
allowing the television series to fall into both genres. The suspense of each crime and the
tension added with Dr. Lectors position, manipulation, and persona shift Hannibal closer
to the psychological thriller. Moreover, horror, a subset of the thriller, appears
continuously throughout. Blood, the idea of cannibalism itself, and the vivid depictions of
scenes create a sense of fear. Interestingly, however, Hannibal sporadically interjects
comedy in the form of irony. Among many of Dr. Lectors passions, artfully cooking
human meat and serving meals for those closest to him appear to rank highly. Each time
he serves his guests, they invariably relish in the palatableness of each dish. The show
itself refrains from solely incorporating one genre, but rather intertwines and utilizes
both, detective fiction and psychological horror thriller, to portray and communicate the
essential thrill-ridden crime solving and bad guy capturing plot. Aside from fusing the
two separate genres, Hannibal integrates comedy to emphasize the personalities of its
characters and allows for a break in the anxiety-packed episodes.

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Through genre, the show grasps its hold on suspense, but its through composition
and structure that Hannibal communicates its focus best. Season one, episode two utilizes
both the aural and the spacial modes to create tension, revealing Will Grahams capture
of a criminal and the manipulation of Dr. Lector on Wills mental processes and his
mental health.
The background music intensifies, maintaining its constant, eerie rhythm whilst
escalating in volume, nearly matching Will Grahams voice as he boisterously and
urgently asks the nurse where Abigail Hobbs, who was supposed to be in the hospital
bed, went. Tension climaxes when Will runs down several flights of stairs and finds a
man pushing a bed with the missing girl, demonstrating the need for the moral detective
to protect innocent bystanders. The heightened quickness of the music and the jumbled,
orchestrated instruments mirror Wills plight and the sudden discovery of the killer. The
background noise sounds increasingly screechy until Will finally shoots the man in the
scrubs, indicating some sort of climax of anxiety. Things slow down slightly when the
injured killer walks backwards against the wall, but it finally subsides dramatically once
the man sinks down onto the ground and hyperventilates slightly from the pain,
demonstrating, with both visuals and a lack of quick, loud sound, that there is no longer
any immediate danger. Both characters simmer down into a calm, colloquial tone of
voice as Will investigates the killers motive and the killer in turn relates his story of
what happened, emphasizing, at the same time, the roles of detective and criminal. Only
modest, drawn out, and low frequency ringing sounds echo in the background to allow
for explanation and to assure watchers that a threat is no longer present and that the
detective and the innocent girl are safe once more. The tone quickens with added

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industrial, swooshing sounds as the killer iterates crazily - that Will should have let him
kill the girl in the hospital bed. The background noise supports the notion that something
is off about the injured man as industrialism, mystery, and fear are often linked together.
The constant shifts from calm to quick paced music or vice versa add emotional
strain and tension to each scene. Watchers are unsure of what to expect next as these
changes happen sporadically and arent rare. Soft, slow, and calming music is played
shortly thereafter when Will appears in front of Dr. Lector, explaining how he felt killing
and shooting individuals in the past episodes and in the previous scene. Based on the
music, watchers can sense that Will is undergoing a session with his psychiatrist and that
hes contemplating his actions, thoughts, and emotions. In addition, the strange contrast
and sudden frailty in music creates a sense of manipulation between patient and doctor,
detective and criminal. When Dr. Lector sways Will into saying killing Hobbs, a former
murderer featured in the first episode, felt good, ringing sounds introduce themselves
once more into the scene, increasing in volume during this anxious and curious
conversation. Therefore, aural contributes without fail to the tension of a capture, the
reassurance of a lack of danger, and the unstable relationship between Will and his
psychiatrist.
Moreover, the physical arrangement of scenes provide insight into the events of
the episode. When Will enters the hospital and discovers the empty bed, the camera
focuses and generally centers on the detective, allowing watchers to analyze his face and
comprehend the danger present. As Will yells at the nurse regarding the whereabouts of
Abigail Hobbs, the nurses confused and terrified expression appears at the forefront of
the scene. When she blurts out that she isnt aware of Abigails location, the camera

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focuses back on Will in order to see his frustration and understand that an additional
crime may take place shortly. Will remains the focus of each running shot and the killer,
steering off with Abigail in her bed, retains attention in his two second montage. This
short clip gives watchers just enough time to process and fear for Abigails life. With the
sound of the gun, it appears as if viewers are behind Will, allowing the detective and the
watcher to develop a closer relationship gravitating around safety and trust, a key element
of Brownsons detective character (15). As the killer sinks down onto the ground, Will
remains standing, exemplifying dominance in the scene. These arrangements are vital to
the understanding of who is in control, who is to trust, and who should be feared. The
camera zooms into Wills expression when the killer proves his insanity, adding an
additional element of tension and distance between detective and criminal. Wills face,
overwhelmed with confusion and anxiety, lingers while Dr. Lectors voice sounds in the
background. During session with his psychiatrist, Will appears in the foreground, while
Dr. Lector lurks in the blurry background, subconsciously magnifying his shady and
devious persona as he attempts to penetrate and influence Wills thoughts and emotions.
The positions of the two lead characters and the focus of the camera both produce an
uneasy feeling in watchers as a sense of passivity and anxiety arise from watching the
criminals manipulation occur onto the beloved detective.
Therefore, the concept of character arrangement and the analysis of camera
position to show relationship between individuals enhances and exaggerates the tension
of scenes, the level of trust between watcher and detective, and the underlying motives
present. Meanwhile, the background music, heightened tones of voice, and the sudden
shift from quick to slow paced tempos demonstrate anxiety between the nurse, Will

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Graham, the first killer, and Dr. Lector. As previously mentioned, all the genres
detective fiction, psychological horror thriller, and comedy- combine to exaggerate the
depth of the plot and dramatize the extreme events- extraordinary empathy, murder, and
cannibalism- happening in the entire show. Through the vehicles of both genre and mode,
Hannibal successfully stresses concepts of tension, suspense, anxiety, and fear. All these
elements allow for a more effective understanding of who the characters are, what they
have in common with each other, and what the fundamental plot of the show is.