![]() ![]() What is known about him (or her) stems from sensational press reports which were informed by Gothic imagery and the fear of the other. However, in the case of the Whitechapel killer there is no ‘real’-there is only ‘simulation’: ‘the generation by models of a real without origin or reality: a hyperreal’ ( Baudrillard 1988, p. Jean Baudrillard described hyperrealism as ‘the meticulous reduplication of the real, preferably through another, reproductive medium’ with each transmediality, the real is ‘volatilized’, but, at the same time, ‘reinforced’, eventually becoming ‘ reality for its own sake … the hyperreal’ ( Baudrillard 1988, p. This sense of control is, however, false, since any representation of the Whitechapel killer has no genuine model and can only be described using the Baudrillardian concepts of simulacrum and hyperreality. ![]() This is one of numerous attempts to give the anonymous, faceless killer some form and shape: evil that can be named and seen seems less malevolent, more manageable. Together with Vlad the Impaler, Elizabeth Batory, Atilla the Hun, Rasputin, and Billy the Kid, a victimless seven-inch Jack the Ripper figurine represents a historic ‘face of madness’ ( McFarlane’s Monsters series 3: Six Faces of Madness 2004). Since there is no known model to base his wax likeness on, any representation of the infamous Jack poses a number of questions about the status of the Whitechapel killer and his victims. This article examines various wax representations of him and his victims, with the term ‘waxworks’ used to denote not only dummies put on show in the Victorian times but also the ones on display now, as well as their various transmediations, group or individual, on page and screen. It would be equally difficult to argue with a parallel statement that no chamber of horrors is complete without Jack the Ripper. The association of representations of villains with this medium became so close that its dictionary definition includes the following usage as an example: “no waxworks is complete without its chamber of horrors” ( Waxwork n.dat.). In the nineteenth century, visiting exhibitions of wax figures which included infamous criminals was a means of substituting for the ‘lost pleasure’ of public hangings (Pamela Pilbeam qtd. This new edition also includes the rare Inspector Bencolin short story "The Murder in Number Four" by John Dickson Carr, and an Introduction by CWA Diamond Dagger-Award winning author Martin Edwards.Waxworks was one of the manifestations of the nineteenth-century fascination with the nascent cult and culture of celebrities, a culture that in the twentieth century incorporated serial killers as well ( Schmid 2006). ![]() ![]() First published in 1932 at the height of crime fiction's Golden Age, this macabre and atmospheric dive into the murky underground of Parisian society presents an intelligent puzzle delivered at a stunning pace. Waiting within, beneath the glass-eyed gaze of a leering waxen satyr, is a gruesome discovery and the first clues of a twisted and ingenious mystery. Surrounded by the eerie noises of the night, Bencolin prepares to enter the ill-fated waxworks, his associate Jeff Marle and the victim's fiancé in tow. The museum's proprietor, long perturbed by the unnatural vitality of his figures, claims that he saw one of them following the victim into the dark-a lead that Henri Bencolin, head of the Paris police and expert of 'impossible' crimes, cannot possibly resist. Today she was found in the Seine, murdered. Do you see?" Last night Mademoiselle Duchêne was seen heading into the Gallery of Horrors at the Musée Augustin waxworks, alive. "The purpose, the illusion, the spirit of a waxworks. ![]()
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