When true crime films prove to be guilty themselves

Published on Mar 17, 2019

As Netflix launches a series on the case of Madeleine McCann, how can we balance viewers’ appetites for the fast-growing genre against concern for victims?

Who is interested in true crime? “One imagines a furtive audience of sad saps and sadists, trench-coated lurkers and wan shut-ins.” So wrote Lorna Scott Fox a decade ago in an article for The Nation, which is quoted in Covering Darkness, Neil Root’s just-published exploration of the genre. They were both writing about authors of true crime books but the same could be asked of audiences for a new wave of television and film documentaries dealing with some of our grimmest cases.

The question is prompted by the launch of Netflix’s eight-part series, The Disappearance of Madeleine McCann. It was preceded in the public eye by the Oscar-nominated short documentary, Detainment, about the two boys convicted of the murder of James Bulger, and

Read full article at: The Guardian - Film News

Author: Duncan Campbell