There is an interesting – and epic – essay by Elise Moore about representations of men as psychopaths in the movies over at her blog, The Autobiography of A Soul.
Elise tracks the development of the psycho trope from the 1940s, to the famous film, Psycho and up to the present day.
M Simpson has slowly and a little bit subtly (I hope he writes something more substantial on it) over the last few years, written about how metrosexual masculinity is becoming somehow ‘psychopathic’ in itself. At least in its imagery and representations.
Anders Breivik has been identified by Simpson as a real life ‘metro psycho’ but the Norwegian spree killer was not short of fictional models on which to base himself. Patrick Bateman, mentioned in Elise’s post, but previously identified by Simpson, in various places, as an important metrosexual murderer, is probably the most influential metro psycho in popular culture. I haven’t even read or seen American Psycho but I feel I know that empty-hearted well dressed killer intimately. As does this young pornographer, The Black Spark:
In turn, Bateman must have been influenced somehow by Travis Bickle, but rather than doffing his cap to him, he and all the other metro psychos I see around me, seem to have appropriated him, ‘subsumed him into their steaze’. They destroy and devour previous incarnations of masculinity. There is nothing left but tits and abs.
I may write more in response to Elise’s post, but for now, I think I want to establish Who’s The Daddy of contemporary representations of masculinity, and masculine psychopathology. It’s Bateman. Or Simpson. Have you ever seen them both together in the same room? No, nor me.