McGarity 1

Samantha McGarity

Mrs. Tatum

AP Language

21 April 2023

Effect of Violence in the Media

Introduction

“Slowly, the killer crept into the room while she was sleeping, and after a long, menacing

pause… BAM! The gunshot could be heard from a mile away, but the killer was gone before

anyone could arrive at the crime scene.” This type of scenario is seen repeatedly in movies,

shows, and books across America. Modern-day media, no matter the topic presented, typically

includes an element of violence. Whether it is a Marvel movie, a Stephen King novel, or a

documentary about Jeffrey Dahmer , people appear to be developing an ever-growing interest in

subjects revolving around violence. However, beginning in the 1960s, a new genre involving real

violence - “true crime” - started becoming popular worldwide, particularly in America. True

crime is essentially what it sounds like: media coverage of an actual crime and those affected by

it. Starting with a few shows about mysterious cases but soon evolving into what is now

hundreds of news articles, podcasts, shows, movies, and documentaries, true crime is like a

wildfire that no one can (or desires to) extinguish. Millions of Americans have watched, listened

to, or read a form of true crime media, many of which revolve around serial killing. A serial

killer is classified as a person who has murdered three or more other people with common

characteristics evident in each murder (the victims, the weapon, etc.). Interestingly, the number

of American serial killers has been rising since the 1960s, which is (not coincidentally) the same

decade that Hitchcock's “Psycho” was released in theaters, and the same decade that true crime
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became renowned. This phenomenon begs a question; how deep is the connection between the

portrayal of serial killers in the media, particularly those without a clear motive, and the rising

number of serial killers in America?

Media is not the only factor that has led to a rise in the number of serial killers; variables

such as home life and mental illness play a large role in the making of a murderer. However, it is

undeniable that the representation of motiveless serial killers, both real and imaginary, in the

media has a correlation with harmful effects. These effects include the exploitation of peoples’

stories for entertainment, copycat behavior, and raising the killer’s celebrity status. These evident

effects bring to light multiple questions of morality in these media productions. What draws the

line between the “right” amount of broadcasting the story and giving such stories too much

attention? Is there an issue with the heavy amount of violence seen in such films? Are these

harmful effects still considered “okay” if they are only hurting a small portion of the population

while providing the rest with entertainment? Should the murderers themselves be shown as such

celebrities after the terror they have brought people, and is this glamourization an issue of the

media or of the public? Ultimately, to what extent should serial killers be portrayed in the media?

(RHETORICAL QUESTION).

As someone who has always been interested in psychology, I was hooked on true crime

as soon as I was introduced to it. I began listening to crime stories told on the podcast “Crime

Junkie,” watching YouTube videos about murder cases, and having conversations with my

friends about movies or documentaries involving violent criminals. Recently, a new show

centered around the American serial killer Jeffrey Dahmer was released on Netflix. Although this

show sounded interesting, before watching I began to see public retaliation against it. There were

multiple claims on social media that it was offensive to the families and painted Dahmer in a
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positive light. The idea that someone so cruel could be given this much attention and an almost

idol status disgusted me. After reading these reviews, I began to think that true crime was most

likely causing more harm than good, which led me to wish for a change in the media presentation

of serial killers. More specifically, I believe that media outlets use sensationalized stories of

serial killers to increase their ratings and profit.

Literature Review

The Imagery of Killers in the Media

To gain popularity, American media often creates images that society will find familiar,

which, in the case of the serial killer, include the “monster” and later the “celebrity” images.

Joseph Grixti, the Head of Massey University’s School of English and Media Studies, claims that

the image of the “monster,” such as well-known fictional characters like Dracula, is often used to

describe killers to provide a sense of familiarity when facing something as horrific as serial

murder (90). More modernly, the image of the “monster” has been replaced by giving the killer

the image of a celebrity, as Julie Weist (anthropology and sociology expert) points out in her

paper “Casting Cultural Monsters: Representations of Serial Killers in U.S. and U.K. News

Media.” Weist agrees with Grixti that the image of the “monster” has been prominent in the

media representation of serial killers; however, she argues that the “celebrity” image has become

more popular as people are beginning to praise serial killers by ranking them and writing fanmail

to them (331). In addition to Weist's statement, Geoff Pevere, a journalist for the “Toronto Star,”

points out that giving a killer the status of a celebrity led to a rise in the number of killers in the

nation. Pevere also states that it is not only real serial killer representation that is causing this

rise, but also the representation of fictional killers. Beginning with Hitchcock’s Norman Bates
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and progressing to Patrick Bateman, the Joker, and Micheal Myers, some aspire to achieve the

image of fame and stardom that is possessed by these violent characters (Pevere).

Effect of Media Portrayal on Society

In addition to fictional serial killers, true crime, although a popular genre of

entertainment, has alarming negative effects on American society. Kevin Borgeson, doctor of

Sociology at Salem University, points out that extensive media coverage of serial killers leads to

an increased sense of fear in the public and difficulty knowing the difference between fiction and

facts in the media (2). After viewing serial crime, people begin to believe there are dangers and

suspicions where there are none. They sometimes wish to find protection from a threat that is not

there (6). On the other hand, Borgeson states that there is importance in studying serial murder

and getting a deep understanding of it, as this information can help to solve future cases (1). Both

Weist and Borgeson believe that the media provokes unnecessary fear in society by excessively

reporting on serial killer cases. She believes that the media has a chokehold on modern society,

as it is the main method of communication, and people tend to grasp onto what it is

overexaggerating without thinking rationally (330-331). Contrarily, doctor of Sociology Jack

Levin and Professor of Criminology James Alan Fox argue in their article, “Making Celebrities

out of Serial Killers Elevates Threat,” that it is not only the media’s right but also their

responsibility to extensively cover serial murder cases (Levin et. al). They claim that, although

this media coverage provokes fear, it ensures the safety of the public by providing them access to

knowledge that could benefit them if needed. Extensive research in the way and volume with

which media outlets cover serial killer cases has clearly yielded some common and contrary

opinions.

Effect of Media Portrayal on Killers

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American media’s constant fascination with true crime has even had an impact on the

number and type of serial murderers seen in the last decade. Grixti provides a specific example

of serial killer Ted Bundy stating that his actions were largely influenced by the media (89).

Backing this evidence is Pevere, who claims that a killer's main motive is typically the promise

of becoming famous and receiving public recognition, no matter the repercussions. Websites

have gone so far as to make a ranked list of the “best” serial killers based on the number of

people they killed, which only increases the number of killings as other murderers aspire the

make their place among the ranked, as Weist points out (335). Levin and Fox further Weist’s

example by examining nicknames often given to killers, such as the “Campus Killer” given to

Ted Bundy. These nicknames encourage killers to live up to that name, just as the ranked list

encourages them to make their mark on society. Susan Headdan, a communications consultant,

and Linda Kulman, a successful ghostwriter, agree with Levin and Fox by claiming that serial

killers look to defend their name and title since the media has made so many serial killers famous

because of their killings (34). However, Fox and Levin argue in a different article, “Blame the

Killer - not the Police, Media, or Family,” that the media is easy to criticize, but in reality, it is

the killer who should fully be blamed for the killings. Dave Cullen, author of the award-winning

novel “Columbine,” gives an example of Fox and Levin’s claim in the form of Seung-Hui Cho,

the Virginia Tech serial killer who had begun his fall into insanity “beginning in third grade”

(32). Cho is unlikely to have been influenced by the media at such a young age, rather, he was

born with a mental condition that made him severely psychotic, proving that the media does not

have a profound effect on every serial killer.

Victim Representation in Media

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Perhaps the most heated discussion revolving around serial killers, however, lies not with

the representation of the killer themself, but in the shocking underrepresentation of the victims.

The media’s focus is clearly on the killer - their background, relationships, “journey” to

becoming a murderer, etc.. Beth Fisher, who has a master's degree in History from the University

of York, explains that the beginnings of victim misrepresentation came with the newspaper

coverage of the infamous serial killer “Jack the Ripper,” wherein the victims were often blamed

and portrayed as if they deserved their terrible fate (11). She also points out that the media’s

glamourization of the killings led not only to fear in the public but also to more profit for the

newspaper. She claims that this sensationalism is seen in the media today, as well (9). Grixti

exemplifies Fisher’s claim with a more modern portrayal by discussing the Netflix show

“Dahmer,” which covers the life of Jeffrey Dahmer and how he grew into a vicious killer (87).

However, the show failed to represent the victims properly or gain consent from the families of

the victims. This underrepresentation leads Grixti to believe that Netflix exploited the story for

profit, just as Fisher believes that the local newspapers took advantage of the victims of “Jack the

Ripper.” Similarly, Levin and Fox prove how giving nicknames (such as “Jack the Ripper”) is an

insult to the victims because it wrongly promotes fame in the killer when the victims were the

ones who should be represented as they were innocent lives that were taken.

Argument

Violence in American media is something that has been seen since the beginning of news

and publishing, and it is unlikely to stop anytime soon. It seems that every movie and TV show

includes an epic fight scene or an unexpected murder, and much of the general public, including

myself, find entertaining. In fact, if a show does not have constant action or violence portrayed in
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some way it can be seen as “boring” or “slow.” This societal addiction to bloodshed is in many

cases harmless, but it makes me wonder where the line should be drawn between too little and

too much. In fictional universes, such as the world of Marvel or DC, the immense depiction of

brutality is inevitable as it “hooks” a viewer and therefore creates a larger profit. I understand

how this fixation could be harmful in unreal worlds, but, in my opinion, it does not compare to

the immorality of the fixation on true crime. To depict true events that real people had to

experience with the same grossness seen in the average episode of Game of Thrones is

completely wrong. Often without consent, these true crime shows and movies tell the story of a

murderer and show their killings in a shockingly similar way that fictional media portrays

murder, which can be dangerous to viewers and under-representative of the victims. Although

podcasts and documentaries often are successful in covering true crime stories without

glamorizing the murderer, overall, true crime media is in dire need of change.

There are ultimately two aspects to this argument that need to be discussed: the solution

to fiction crime, such as CSI, and the solution to true crime, like “Dahmer.” Fictional shows

should be more heavily monitored but in no way restricted since they provide such good

entertainment and escapism, not to mention the grasp they have on society, without exploiting

any terrible reality. On the other hand, production of true crime is in need of some change. True

crime shows should have the victims as the main characters, following their lives so that what is

remembered about them is not their death but their life. In addition, many shows could do a

better job covering the errors made in these true crime cases, such as flaws in the justice system,

as well as advising an appropriate amount of precaution to viewers before watching the show.

On the fictional side of the argument, the imaginary worlds and situations created by the

media are certainly influential in modern society. For example, global popularity of movie series
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such as Star Wars, Lord of the Rings, and Harry Potter; the wide majority of the population

absolutely adores these made-up universes. The line between reality and fiction, however, can

become blurred. For example, I enjoyed watching the popular series “Breaking Bad,” a show

about a teacher and his former student selling crystal meth to make money. While highly

entertaining, I did find myself more suspicious of the everyday lives of those around me. What

secrets are they hiding? What do they do behind closed doors? (RHETORICAL QUESTION). It

was important for me to stay grounded and not allow these thoughts to overwhelm me. I had to

keep the fiction of the show separate from the reality of life. This mixing up of reality and

fiction is precisely the point of Borgeson’s argument about the dangers of true crime in his

chapter “Why Study Serial Crime,” but it can be applied to fictional worlds, as well.

This mix-up of realities can be extremely dangerous, especially when introduced to

someone who harbors the beginnings of a mental illness. I do not believe that all fictional shows

should be altered because they still hold a high entertainment factor for many people. However,

deeper caution should be advised by parents or guardians of kids watching these violent shows.

To combat this influence, parents should warn their children not let this show become their entire

life and remind them that it is not real if they begin to notice a shift in personality. Parents or

guardians need to discuss fact vs. fiction like they do sex-ed and other issues because it has the

capability of becoming dangerous if put into unstable minds. They need to take a closer look into

the differences between PG and PG-13 movies and consider the drawbacks of allowing children

to watch violent movies. Children and teenagers can easily become influenced by the media they

see and normalize it as a reality - an aspect that is seen in many serial killers, such as the

Columbine shooter and psychopath Eric Harriss. Overall, for fictional media, I believe that the

media doesn’t need to change, but the mindset of those watching it does.
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Portrayal of true crime, on the other hand, is very different from fictional crime. One

major issue in these shows is victim representation. In true crime, victims are like cobwebs in the

corner of a room. People rarely notice them, and if they do, they tend to ignore them or sweep

them out of the way. In the same way, victims are often put to the side, and it seems as though no

one wants to hear their stories. So, in a way, this is not just an issue about the media, but also the

mindset of society. If society would either become more interested in the story of the victims or

become less interested in glamorized and exploitative true crime shows like “Dahmer,” the

popularity and profit for these types of shows would drop tremendously. Since we live in a

country driven by money, these shows would probably be replaced by beneficial media, such as

documentaries and podcasts. However, because society fails to switch its mindset and continues

to watch these harmful shows and movies, the media, although not helping the situation, cannot

fully be blamed for victim misrepresentation. A good example of a true crime series is

“Unsolved Murders” on Spotify. They begin each story by providing background on the victim’s

life and hometown and address their murderer as a side character. This form of representation

can be beneficial because it gives the victim proper representation while not glamorizing the

killer. Overall, though, true crime media appears to have more harmful effects than positive ones.

This media can encourage copycat behavior as serial killers are often put in the spotlight and

even “ranked” for their number of killings (Weist 335). These ranking websites illustrate the

public’s obsession with true crime, which only increases the glamorization of serial killing.

Some researchers argue that the main component influencing the creation of serial killers

is not the media, but instead other factors like mental illness and home life. It is even claimed

that 61% of shooters had previously been known to suffer from “severe depression” (Cullen 33).

While it is true that these other factors play a key role in the development of a serial killer, I
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believe that true crime media does nothing but feed into these illnesses. If someone with a mental

illness were to see a show like Netflix’s“Dahmer” and see the heavy focus on Jeffrey Dahmer’s

spiral into becoming a killer, it would most likely only enhance their delusion since it seems like

Dahmer was only rewarded for his terrible acts. That is not to say that everyone with serious

mental illnesses will become serial killers, but it is to say that it is dangerous for these people to

get ideas from true crime glamorizing killers. While fictional media may not be extremely

harmful, true crime can be, and therefore there must be strict regulation on it with more victim

representation. If this new victim-centered coverage were to take precedence over the killer-

centered media, more people would realize the horrifying effects of serial murder rather than

viewing media that leads to a belief that serial murder is an activity awarded by fame and

glamor.

Conclusion

The issue of true crime media is one that is often overlooked because of the fascination

and entertainment it brings with it, but it is also an issue that must be addressed because of the

harm it brings to victims, victims’ families, and viewers. Violent media as a whole needs to be

more heavily monitored by parents and guardians, but true crime media is in need of reform

focusing on victim representation and, with that, less glamorization of the killer. While watching

true crime shows and movies, viewers must be heavily aware of the media they are consuming

and ask themselves, “Is this beneficial to the victims, families, or even myself?” If the answer to

this question is no, the media should be avoided so as to not allow a profit to be made off of

exploitation. The problem of true crime leading to inaccurate victim portrayal and copycat

behavior is one that can be fixed if both the media and society change their mindset on what is

more important: greed or authenticity. If this problem is solved, victims’ stories will be shared in
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a positive way. If this problem is solved, it can be assumed that the number of American serial

killers will plummet. If this problem is solved, America would be a safer and more mentally

stable nation. (ANAPHORA).

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Works Cited

Borgeson, Kevin, and Kristen Kuehnle. "Why Study Serial Crime?" Introduction. Serial

Offenders: Theory and Practice, e-book ed., Jones and Bartlett Learning, 2010, pp. 1-15.

Serial Offenders: Theory and Practice.

Cullen, Dave. "What A Killer Thinks." Newsweek, vol. 160, no. 6, 6 Aug. 2012, pp. 30-34.

Advanced Placement Source,

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direct=true&db=aqh&AN=78216273&site=ehost-live&scope=site.

Fisher, Beth. "Reporting on the Ripper." History Today, vol. 68, no. 9, Sept. 2018, pp. 8-11.

Academic Search Complete,

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Pevere, Geoff "The Serial Killer Explosion Serial Killers Are Media Stars -- in Real-life as Well

as in Movies -- and It All Began with Norman Bates." Toronto Star (Canada), 5 Dec.

1998. Points of View Reference Center,

proxygsu-scob.galileo.usg.edu/login?url=https://search.ebscohost.com/login.aspx?

direct=true&db=pwh&AN=6FPTS199812055176106&site=eds-live&scope=site.

Grixti, Joseph. "Consuming Cannibals: Psychopathic Killers as Archetypes and Cultural Icons."

Journal of American Culture (01911813), vol. 18, no. 1, spring 1995, pp. 87-95.

Academic Search Complete, https://doi.org/10.1111/j.1542-734x.1995.1801_87.x.

Headden, Susan, and Linda Kulman. "A Search for Clues to a Killer's Spree." U.S. News &

World Report, vol. 123, no. 4, 28 July 1997, p. 34. Advanced Placement Source,
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direct=true&db=aqh&AN=9707194309&site=ehost-live&scope=site.

Levin, Jack and James Alan Fox. "Making Celebrities of Serial Killers Elevates Threat." USA

Today. Academic Search Complete,

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direct=true&db=a9h&AN=J0E129026809102&site=ehost-live&scope=site.

Fox, James Allen and Jack Levin. "Blame the Killer -- Not the Police, Media or Family." USA

Today. Academic Search Complete,

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direct=true&db=a9h&AN=J0E348969956405&site=ehost-live&scope=site.

Wiest, Julie B. "Casting Cultural Monsters: Representations of Serial Killers in U.S. and U.K.

News Media." Howard Journal of Communications, vol. 27, no. 4, Oct. 2016, pp. 327-46.

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