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In the article “Mortality Plays: Pain, Penance, and Admonition in Se7en and Saw”, it discusses the morality of the horror films Se7en (David Fincher, 1995) and Saw (James Wan, 2004) through the Christian tradition. In both films, there is a killer that tortures his victims which lead the victims to murder themselves. Wills and Wilson (the authors) analyze the murderers John Doe (Se7en) and Jigsaw (Saw) by how the murders are related to the Christian ideas of medieval and modern concepts of sin and penance. Important themes that Wills and Wilson discovered through both films the themes of mortal sins, preachings, punishments and penance, and redemption appear in the murderer’s motive. Both killers go after people that have committed mortal …show more content…
This paper uses examples from the horror film genre and looks at the ethical complications that occur through the two serial killers. Even though films are meant to provide entertainment for the audience, they can also reveal important moral issues in a particular society. The horror film genre, which the authors focused, usually questions particular morals in how people choose to live their lives. For example, in films such as Friday the 13th, Halloween, Scream, and Nightmare on Elm Street, the first people to die are those abusing drugs and/or alcohol, having premarital coitus, or displaying disrespect for the society in which they live. In romantic movies, the moral issues related to the films are how people interact with one another. Questions that come up in those films are “should we just be friends with benefits?”, “should I date him?”, “will we both benefit from this relationship?”. Every film genre has particular moral issues that are displayed through the actors, but the interpretation is up to the audience and can display powerful …show more content…
There have been papers written on the morality described in plays and novels, but this was the first time I have ever read an academic paper on the ethical issues within a movie, especially through the eyes of two serial killers. For the most part when characters are analyzed, the good characters are considered morally positive and the bad characters are considered morally negative. Wills and Wilson never made any negative connotations towards John Doe and Jigsaw, but explained both positive and negative ethical decisions about both killers. The purpose of strictly talking about the characters’ morals in an unbiased way giving the notion that morality is not black and white as opposed to many other
I have provided a clear evaluation of his essay in an organized way using the appropriate standards of evaluation. In understanding why humans “Crave Horror Movies” even when some people get nightmares after watching them we find the importance of our emotions and fears. We find those emotions and fears form a body of their own which needs to be maintained properly in order to remain healthy. We see how emotions can be controlled though viewing horror movies. Stephen King’s “Why We Crave Horror Movies” is a well written essay with convincing analogies, comparisons, and urban humor.
Believers of the Old and New Testaments claim that violence is a sin and can only lead to more brutality and death; poet Tony Barnstone firmly agrees. In his poem “Parable in Praise of Violence” Barnstone lambastes the American obsession with violence-- that it is often triggered by inevitable events which could be handled in different manners. The speaker in “Parable in Praise of Violence” reflects on all parts of his “sinful” culture and comes to the realization that people often use violence as a way to deal with emotions of grief and anger caused by events and concepts they cannot explain.
1. Sobchack’s argument pertaining to on -screen violence that she wrote thirty years ago was that any violent acts portrayed in movies back then was to emphasize the importance of an element in a story, an emphatic way of engaging the viewers and forcing them to feel what the movie was about. It gave them a sense of the substance of the plot which would allow them to feel for the characters and yearn for good to overcome evil. In other words, the effort made to engage audiences through depictions of violence created violence that was artistic and well done, or as Sobchack writes, violence was “aestheticized.” Violence was incorporated into film in a stylistic way, and even though violence in all forms is offending, twenty five years ago when it was seen in film, it had a greater impact on audiences because it had meaning (Sobchack 429).
Relations between sympathy-empathy expressiveness and fiction have become a significant issue in the debate on the emotional responses to the film fiction. Due to their complexity many scholars found it useful to diagram them. With his essay, “Empathy and (Film) Fiction”, Alex Neill tries to develop new theory for analyzing the fiction and, especially, the emotional responses from the audience on it. The project of this essay is represented with an aim to show the audience the significant value of the emotional responses to the film fiction. From my point of view in the thesis of his project he asks a simple question: “Why does the (film) fiction evoke any emotions in the audience?”, further building the project in a very plain and clever way. Tracing the origins of this issue, he distinguishes between two types of emotional responses, sympathy and empathy, as separate concepts in order to understand the influence of both types of emotional responses to fiction. However, relying mostly on this unsupported discrepancy between two concepts and the influence of the “identification” concept, Neill finds himself unable to trace sympathy as a valuable response to fiction. This difficulty makes Neill argue throughout the better part of the text that empathy is the key emotional factor in the reaction to (film) fiction and that it is a more valuable type of emotional response for the audience.
One of America’s famous actress film director and producer Katie Aselton once said,” I don’t love horror movies with something surreal happening. That doesn’t work for me. What’s terrifying is something that could actually happen to me and what I would do. I don’t know how to throw a punch, and I’ve never had to do it.” This quote shows connection to King’s article. I’m starting to consider that everyone has a crazy side. Why We Crave Horror Movies explains the reason people want to go see horror movies. The average person enjoys the horror movies because they are in a safe environment knowing they can not be harmed. By discussing the argumentative strategies such as ethos, logos,
As of late, society has stolen the traditional idea of a vampire. These undead creatures are manipulated in countless genres and media, ranging from comedic reliefs and complex villains to sparkly heartthrobs. Songs, video games, movies, books, and TV shows all are guilty of this. Movies in particular have done the most with vampires, and clearly show their evolution in society’s eyes. In the earliest movies such as Nosferatu; directed by F. W. Murnau, and Dracula; directed by Todd Browning and Karl Freund, vampires are used as devices of horror. They are meant to be unhuman and terrifying. As time passes, they become portrayed in sympathetic lights and with more human traits. Emotions such as love, guilt, and fear were added to vampire vocabulary,
For this paper I chose to explore Alfred Hitchcock’s Psycho because it has remained the only horror movie I’ve seen to date. I went into a couple others but immediately left; let’s just say horror is not my favorite genre of film. People may or may not always call Psycho a horror film, it may be more of a thriller to people nowadays, but I still believe the correct genre analysis is horror because it should always refer to the genre at the time the film was created and released. I chose Psycho because I spent multiple weeks in high school studying Hitchcock, and Psycho specifically, so I feel comfortable writing on it. I also thoroughly enjoy the film, its backstory, and the character development. Plus, it’s been roughly adapted into one of my favorite shows: Bates Motel, which I will also briefly explore.
I was reading threads on Reddit the other day about multiple serial killer cases and I always questioned myself, “Why would someone do this? Are they even human?” It is fascinating when these characters are presented in movies since we get to understand their backgrounds sometimes, but in the real world, not so much. Movies that include these type of qualities help us try to sympathise and understand the complications going on behind an
One could easily dismiss movies as superficial, unnecessarily violent spectacles, although such a viewpoint is distressingly pessimistic and myopic. In a given year, several films are released which have long-lasting effects on large numbers of individuals. These pictures speak
“Why We Crave Horror Movies,” an essay by the legendary Stephen King, explains two challenging concepts to understand: why people like gory horror movies and how people are able to control their darkest desires. “I think that we’re all mentally ill; those of us outside the asylums only hide it a little better – and maybe not all that much better, after all.” King opens the essay by addressing the hard truth- we are all insane. People have dull lives, and often it’s the little bit of crazy within in us tha...
However, upon the new changes in cinema—the idea of ideology shifted as well. Modernist Cinema subverted that typical dominant ideology. There is always a larger question poses about the film as a whole; why was this film made? Badlands situates the spectator in the position to decide whether or not murder is evil based on the visuals he or she views. The author’s hopes is that by creating unidentifiable characters and a nonchalant world that the spectator will realize that the idea of murder isn’t in fact being promoted merely the opposite—it’s being subverted. The subject matter of this film is one that is certainly unpleasurable in terms of entertainment but actually a dissatisfaction intending to comment on society as a whole. This intentional provocation involves “the attack on ‘entertainment’ cinema [as] part of a broader attack on the whole of ‘consumer society’” (Wollen, 424). Cinema serves as a distraction from society, but also operates to make a point to its intended audience. The point being the obvious, murder should never be morally acceptable. Its consequences typically should evoke a reaction that testifies against nature of the
We all have cravings, be it for snacks or sweets, there is always something we desire. We crave horror in the same way. In Stephen King’s essay, “Why We Crave Horror Movies,” he argues that people need to watch horror films in order to release the negative emotions within us. King believes that people feel enjoyment while watching others be terrorized or killed in horror movies. King’s argument has elements that are both agreeable and disagreeable. On one hand he is acceptable when claiming we like the thrill and excitement that comes from watching horror movies; however, his views regarding that the fun comes from seeing others suffer cannot be agreed with because the human condition is not as immoral as he claims it to be.
Horror movies bring out the worst in us and for all the right reasons. King’s big idea suggests that by watching our mad, deranged role models slaughter one another, is actually keep us in line mentally. It allows us to stay sane and untroubled. Watching others do the dirty work gives us a sense of relief. Even though watching horror movies are filled with basic reasons of having fun, there is a deeper, psychological level of human emotions that is essential to our mental
The idiom “revenge is sweet” appears so frequently that one might think the cliché is true, yet the nature of revenge is far more complex and may leave more bitterness in its wake. The cyclical nature of revenge and man’s inhumanity to man means it has a propensity to intensify and devastate the people in its wake including the inflictor. Gabriel García Márquez’s Chronicle of a Death Foretold and Isabel Allende’s The House of the Spirits examine the theme of the nature of revenge through the presence and significance of prominent characters seeking revenge in both Latin American novels.
Crime constructs us as a society whilst society, simultaneously determines what is criminal. Since society is always changing, how we see crime and criminal behavior is changing, thus the way in which we punish those criminal behaviors changes. In the early modern era in Europe, public executions were the primary punishment given to members of society who were involved in criminal behavior. This form of punishment served to showcase the absolute power of the state, King and church to take away the life of any citizen who disrupts peace. It was a way to make the criminal justice system visible and effective in an era when the criminal justice system was in its beginning stages of demonstrating orderliness (Spierenburg). More specifically, it was a relatively straightforward and psychological way to evoke deterrence. The potential of gruesome violence, public persecution and religious betrayal were tools thought to be strong enough to make public executions a successful form of deterrence because within the community, social bonds and religion were the fou...