Director David Cronenberg’s movie “A History of Violence” brings a little-known graphic novel to life. The protagonist, Tom Stall (Viggo Mortensen), seems to be living the ideal life when it suddenly takes a turn for the worse. Two robbers attempt to hold up his diner in a little Indiana town, until Tom stops them by slamming a hot glass coffee pot into the face of one and shooting three gunshots into the chest of the other. The scene’s carnage is heightened as bits of flesh dangle off the shattered bone of one robber while he chokes on the blood from his own body. The corpse of the other robber is shown lying in the mist of shattered glass with blood pouring from each gun wound. Tom’s heroic reactions seem like something he does to save the day, however, we only excuse his extreme reactions because of our overall exposure to violence and desensitized conscience. This type of brutal and unplanned violence becomes the protagonist’s way of making peace throughout the movie.
The title of the film reflects not only the history of violence of the protagonist, but the history of violence in America. This simple movie gracefully indicates how movie violence prevails as a reflection of American culture. “The History of Violence” is not just another gut-spilling movie about a man running from his past. Instead, it serves as a window into understanding the desire for movie violence in America. While critics argue that the movie is over-contextualized, the average American may argue that the movie is not precise enough. However, the beauty of the movie resides in its complex ambiguity.
The protagonist unwillingly becomes a national hero by defending his diner and innocent customers from vicious robbers. Before this, he was blessed with the...
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...ence” is an example of one that is much more than that. Without relating this movie to current political events, the movie might not have resonated with the viewers as deeply as it did. Americans continue to see these types of violent movies for enjoyment; this enjoyment extends beyond the movie theater when the audience can leave with new perspectives. Movies live on through daily conversations, books, and the internet; however, this could only occur if we are able to relate the movie’s message back to something in our lives. People receive messages best when they willingly accept it and Cronenberg claims that Americans willingly accept movie violence because we all have a personal history of violence; that “it's wired into our DNA” (Interview). Without sermonizing, he shows us why we desire what is publicly reprehensible and how we are able to make peace with it.
2. According to Sobchack, contemporary screen violence greatly differs than portrayals of violence in years past. Today, violent scenes are careless and lack significance because we as audiences have become calloused and desensitized to any acts of violence. She states that there is “no grace or benediction attached to violence. Indeed, its very intensity seems diminished” (Sobchack 432). Senseless violence, gruesome acts, and profound amounts of gore are prevalent in movies today, and because even this is not enough, it must be accompanied by loud blasts and noise, constantly moving scenes to keep audiences stimulated and large quantities of violence for viewers to enjoy what they are watching. Decades ago, it was the story that was engaging to audiences and filmmaking was an art.
In “The Thematic Paradigm,” University of Florida professor of film studies, Robert Ray, defines two types of heroes pervading American films, the outlaw hero and the official hero. Often the two types are merged in a reconciliatory pattern, he argues. In fact, this
A society that presumes a norm of violence and celebrates aggression, whether in the subway, on the football field, or in the conduct of its business, cannot help making celebrities of the people who would destroy it. Unfortunately, such acts of rampage have become a prevalent factor in the Canadian culture. As a result of endless media coverage, Canadians now are constantly bombarded with numerous images of violence. Many of which often portray a victim avenging their opponent by means of force. Thus, indoctrinating a nation of individuals to believe that it is only through aggression that problems can be resolved. Rather than being punished for acts of violence, those who commit such offenses are often praised for their “heroism”. In addition, the success of films like The Godfather, Gladiator, and Troy further aid in reinstating the fact that we live in a society that praises violence. Furthermore, this ideology allows for individuals to partake in violent acts with little or no backlash from ones community. However, when an individual strays away from the “norm”, they are likely to then be viewed as a deviant. Such cases of rejection within a society, are often seen in the portrayal of serial killers. Although our society tends to condone violence when it is directed towards a specific individual(s), it does not allow the killing of innocent bystanders. Instead, crimes that are targeted against a number of people over a long period of time, entail the harshest forms punishments under the law. Sadly, in executing the law for said crimes, those in charge often face much public scrutiny. Such occurrences were apparent in the faulty murder investigations of Canada's most notorious serial killer Robert Pickton. This is due to the ...
A society that presumes a norm of violence and celebrates aggression, whether in the subway, on the football field, or in the conduct of its business, cannot help making celebrities of the people who would destroy it, (Lapham, 1985). Unfortunately, such acts of rampage have become a prevalent factor in the Canadian culture. As a result of endless media coverage, Canadians now are constantly bombarded with countless images of violence. Many of which often portray a victim avenging their opponent by force. Thus, indoctrinating individuals to believe that it is only through aggression that problems are resolved. Rather than being punished for acts of violence, those who commit such offenses are often praised for their “heroism”. In addition, the success of films like The Godfather, Gladiator, and Troy further aid in reinstating we live in a society that praises violence. Furthermore, this ideology allows for people to partake in violent acts with little or no backlash from ones community. However, when an person strays away from the “norm”, they are likely to then be viewed as a deviant. Such cases of rejection within a society, are often seen in the portrayal of serial killers. Although our society tends to condone violence when it is directed towards a specific individual(s), it does not allow the killing of innocent bystanders. Instead, crimes that are targeted against a number of people over a long period, entail the harshest forms punishments under the law. Sadly, in executing the law for said crimes, those in charge often face much public scrutiny. Such occurrences were apparent in the faulty murder investigations of Canada's most notorious serial killer Robert Pickton. This is due to the fact that, the negligence of the Vancou...
As a hardworking college student living (without a TV) in this impenetrable Gothic galaxy, I am usually quite oblivious to popular culture. I was not even aware of the barrage of hype surrounding the release of Natural Born Killers. My attention was directed belatedly to the movie by a letter from a friend in which she lamented the present state of humanity - or lack thereof. And yet, I still stayed away from the movie for over a month despite my knowledge that it would be at the very least thought-provoking. I've learned that I have not been desensitized to images of violence, perhaps because of my earlier-mentioned insulation from pop culture. However, I was intent on listening to what Oliver Stone had to say. So last night I spent the entire 100+ minutes of the film curled in my seat, my head in my hands.
A question that arises in almost any medium of art, be it music, film or literature, is whether or not the depiction of violence is merely gratuitous or whether it is a legitimate artistic expression. There can be no doubt that Michael Ondaatje's long poem The Collected Works of Billy the Kid is a violent work, but certain factors should be kept in mind before passing it off as an attempt to shock and titillate; certainly, the poem does both of these, but they are not the primary purpose of the work. For one thing, social context needs to be considered; Billy lived in the "Wild West", a time associated with range wars, shoot-outs and great train robberies. The entire legend of Billy the Kid has been built around his criminal activities and notorious reputation; indeed, the more popular this myth becomes, the more people he is accused of having murdered. If anything, it was a cultural fascination with violence that "created" the legend, perhaps even more so than anything the "real" Billy ever did. Michael Ondaatje comments on this phenomenon and actually offers an alternative vision of who Billy the Kid was; perhaps he was not just a blood-thirsty killer but a man who, due to circumstance and human nature, was continually being pushed over the edge. Ondaatje is more concerned with the motivations behind the acts of violence than the acts of violence themselves: "A motive? some reasoning we can give to explain all this violence. Was there a source for all this? yup -" (54). If they shock, it is to shock the readers out of complicity and encourage them to think about the nature of violence and their own capacity for it.
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,
...ting, and irony essential to the effect of the story, Connell utilizes his command of these literary devices to relate to the everyday life of the reader. Throughout the story, Zaroff exclaims that when he murders animals, it does not excite him which leads him to kill humans. The wrongful action which Zaroff commits demonstrates the way the world behaves today, specifically the hunting world. For this reason in the hunting world of today, people kill animals for either game or for enjoyment; but what perverse mind enjoys that slaughter of creatures? The violence of today exists all around where people call home or gather to socialize with other people. For example, when people leave their home to watch movies; people mostly watch violent or action movies for their exciting content. As soon as the movie ends, people come away from the theater with sadistic images which begins the desensitization from violence. The world today must recognize this event that happens to often to the population of the world today because when people view violent movies frequently and feel nothing, people become like Zaroff and kill animals or people because movies do not provide enough exhilaration.
Movies distort reality by creating an ideal conflictual ambience, from which all the subtle human emotions and the characters arise. Humans might appear as consensus beings, seeking conformation and avoiding alienation by “society”. However, referring back to Aristotle’s saying, “human beings are by nature political animals” (1999), humans continually strive for power and control inasmuch as they strive for pure oxygen to breathe. Movies unleash these “socially unacceptable” political animals, exposing the hidden moral corruption embedded within most humans. Movies accomplish such a task by distorting reality, by reshaping the truth into a collection of video shots, taken from different angles, creating different meanings to content; the true meaning. The three genres of literature – narratives, poetry and drama – establish the key to revealing the distortion, thus providing humans with the ultimate method of deciphering our reality through the eyes of a glass lens. In the movie Do the Right Thing, these genres come together to paint a “picture” of us.
Grahm, Paul. (2005) The Journal of Religion and Film: Revisiting Violence in The Godfather: The Ambiguous Space of the Victimage Model. http://www.unomaha.edu/jrf/Vol9No2/grahamGodfather.htm accessed 10 December 2010
The problem of youth violence is not an unsolvable one. Although fictional, American History X provides an accurate example of how youths can make the transition from violent behavior. We must work to seek out the blind and the lost boys to help them find their vision in a world that is so often covered in darkness.
From 1949 to 1996 to now, the way people see a story or movie has changed tremendously because of the change in violence. When the short story, “The Lottery” was written , the thought of this was awful, but the thought of this was different in 1996. Back in 1949, violent events are rare, but closer to the 21st century, violent things start to occur more often. When Shirley Jackson’s short story was published, people were so astonished that a human being could write that. Shortly after her short story coming out, people started to take back their prescription from the New Yorker, and they also started to send her many death threats per day. Since the time of the short story coming out, America has experienced more violence, making people in America not angry when they watch this
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
Martin Scorsese has made a reputation from making movies that show a profound perceptiveness of human nature through their images of toughness and violence. On the surface, one would be hard-pressed to find a story more unlike Raging Bull or Goodfellas than The Age of Innocence, which seems better suited to a Merchant-Ivory production. However, Scorsese has placed his indelible stamp on this picture, not only through the camerawork, but in the potent tension that builds between the main characters. For while blood has often been Scorsese's method, the characters, and what exists between and within them, have always been his ends.
However, not all depictions of violence against women are as easily defined by a just or deplorable representation. In Full Metal Jacket, Stanley Kubrick creates a climax in a moment that rev...