By Anna Fahraeus, Dikmen Yakal -. Amo Lu, Dikmen Yakal -Camo Lu
This selection of essays explores the representations, incarnations and manifestations of evil whilst it really is embodied in a selected villain or in an evil presence. all of the essays give a contribution to exhibiting how omnipresent but tremendously under-studied the phenomena of the villain and evil are. jointly they make certain the significance of the ongoing examine of villains and villainy to be able to comprehend the premises at the back of the illustration of evil, its inner localized common sense, its historic contingency, and its particular stipulations.
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Extra resources for Villains and Villainy: Embodiments of Evil in Literature, Popular Culture and Media.
Wong, New Line Cinema, 2000. Psycho. Directed by A. Hitchcock, Paramount Pictures, 1960. Star Wars: Episode IV. A New Hope. Directed by G. Lucas, 20th Century Fox, 1977 Star Wars: Episode V. The Empire Strikes Back. Directed by I. Kershner, 20th Century Fox, 1980 Star Wars: Episode VI. Return of the Jedi. Directed by R. Marquand, 20th Century Fox, 1983. Terminator. Directed by J. Cameron, Orion Pictures Corporation, 1984. The Fellowship of the Ring. Directed by P. Jackson, New Line Cinema, 2001.
Why Don’t They Just Shoot Him? The Bond Villains and Cold War Heroism’. The Devil Himself: Villainy in Detective Fiction and Film. Gillis, S. & Gates, P. (eds), Greenwood Press, Westport CT, 2002, pp. 121134. , From Chivalry to Terrorism: War and the Changing Nature of Masculinity. Knopf, New York, 2003. , Beyond Bond: Spies in Fiction and Film. Greenwood Publishing Group, Westport CT, 2005. , ‘Faces, Photos, Mirrors: Image and Ideology in the Novels of John Le Carré’. Image and Ideology in Modern/Postmodern Discourse.
In a sense, this is the very reason why it is important to return to spy fiction: to remind ourselves of the surreal, extremely dangerous paths that the quest for power may take. Also, to raise a new awareness of the ways in which the political system of power corrupts individual ethics, blurring the line dividing heroism from villainy. The trilogy by John Le Carré that I examine in the second part of this chapter may easily be read from this point of view: as the story of how the hero (the British secret agent Smiley) ends up perpetrating an act of villainy (blackmail) to capture the villain (the Russian spymaster Karla).