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Effects of media violence essay
The effects of media violence on society
Media violence and its consequences
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A cult film also known as a cult classic, a cult film is known as, obscure or unpopular with mainstream audiences and often revolutionary or ironically enjoyed. These films are known for their dedicated, passionate fan base, an elaborate subculture that engage in repeated viewings, quoting dialogue and audience participation. Bad Boy Bubby is a 1994 Australian-Italian black comedy/drama film directed by Rolf De Heer which is considered a cult film.
The DVD cover of ‘Bad boy bubby’ warns via the words of the Daily Telegraph newspaper: ‘avoid if easily shocked’ and the Sunday telegraph newspaper: ‘a sort of deviant, tasteless version of Forest Gump.’ Such negative admonitions were like flattering exhortations to horror and cult film aficionados at several overseas film festivals.
The story of Bubby emerging from a stinky hell hole to spearhead one of the blackest fish-out-of-water comedies the local industry has ever produced comes complete with incest sequences, death-by-cling-wrap, bitter ruminations on God and ironic commentary on the indie music scene, from which the antihero emerges as an unintentional star. It was an experiment clearly
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Bad boy bubby is considered controversial and shocking upon its release and developed a cult following, in part, because of that reputation. The notoriety seems based upon the films first half hour with its scenes of incest, animal killing, bodily fluids and psychological abuse. The film became notorious for pushing the boundaries of good taste with its strong scenes featuring violence, incest, rape, blasphemy and uplifting messages such as love, compassion and being an individual as well as amongst other taboo
Mr. Leo wrote this piece not only for informative purposes, but also to convince a particular audience that, whether intentional or not, characters have taken on harmful images some may find offensive. He is not speaking only to his fairly educated, loyal readers, but also to those who may have taken part in producing the movie. Mr. Leo makes visible to his readers what he believes to be stereotypes in the film. People may not have noticed these before, so he makes clear definitions and comparisons. To the rest of the audience, those who had a hand in making the movie, he makes a plea not to redevelop these characters in future films.
...d traditions, but also blending two distant genres together. The blending of genres gives us ideas about common conventions in films that we do not usually pay attention to, and how they can be manipulated to change the way we think about individuals and groups. Edward Scissorhands dives deeper than just a “Beauty and the Beast” narrative, and influences audiences to explore topics of how the gentlest of souls can be misjudged by their appearance, a seemingly normal community can be the “bad guy” if it only has its personal intentions in mind and no one else’s, and that true love is not about what is on the outside, but rather, what is on the inside. Edward Scissorhands can be considered as one of the most appealing films of the 20th century as it keeps audiences guessing, surprises them at the most unexpected times and breaks conventional film boundaries.
Chris Lilley’s successful application of the satirical device, parody, undoubtedly emphasises the effect drug abuse had on a particular student’s life. The musical, “Mr. G: The Musical”, is very loosely based around a student at Summer Heights High who abused drugs, in particular ecstasy, and incorporates the apparent role Mr. G played i...
The incident exemplifies a pressing issue in the ever-topical discussion of the oft-vilified film rating classification system in our country. Is the movie rating system, originally designed to assist parents in guiding the movie-going habits of their children, actually preempting parental choice?
Since the communist era, the concept of conformity has been tested on humans thinking it would bring a sort of comfort. These regimes rapidly crumbled due to their often authoritarian nature. Following these dictatorships, we often associate conformity with misery. Similarly, in Edward Scissorhands, through the characterization of Peg Boggs, the symbolism of Edward’s castle home and the change in Edward’s behaviour, director Tim Burton rejects conformity since it leads to fakeness, boredom, and corruption and, instead, promotes the benefits of authenticity and old habits.
An exceptional film revolving around Dalton Trumbo and many other Hollywood artists. In 1947, Dalton Trumbo and many Hollywood figures were blacklisted for their political beliefs. This film depicts the effects that the blacklist and those who enforced it had on the lives of the communist in America; particularly those in Hollywood. Trumbo gathers his fellow Hollywood writers and tries to prove to said enforcers that their beliefs are theirs alone and does not affect their ability to produce great films. This film does exactly what its set out to do; it brings you to the time when amazing writers were blacklisted for believing in something other than the norm, and fighting for their right to believe in whatever they choose.
Blackbeard was one of the most feared pirates in history, because he was a ferocious and fearless man who took over many ships in his years of being a pirate. He wasn’t a good man but he was good at what he did. There was some information that was unsure of because of the time period, but there are many interesting facts about him.
Charlie Babbitt, a Los Angeles car dealer, is in the middle of a big deal. However, he is being threatened by the EPA, and if Charlie cannot meet its requirements he will lose a significant amount of money. Charlie then leaves for a weekend trip to Palm Springs with his girlfriend, Susanna. However, his trip is cancelled by news that his father, Sanford Babbitt, has died. Charlie goes to Cincinnati where he learns that the three million dollars that his father left is being directed to a mental institution, where his brother who he never knew existed, Raymond Babbitt, lives. Charlie is determined to get what he believes is his share of the Babbitt estate, Charlie takes Raymond on a car trip back to Los Angeles to meet with his attorneys. Charlie intends to get Raymond's doctor, Dr. Gerald R. Bruner, to settle for half of Sanford Babbitt's estate so that the mental institution can maintain custody of Raymond. Susanna leaves Charlie, disgusted by his selfishness and his efforts at using his brother to gain the money,
Maasik, Sonia, and J. Fisher Solomon. "The Offensive Movie Cliche That Won't die." Signs of life in the U.S.A.: readings on popular culture for writers. Boston: Bedford Books of St. Martin's Press, 1994. 407-411. Print.
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
Cult Films, a.k.a Cult Classics, became popular around the 1970s. Cult films are known for their dedicated and passionate followers that engage in repeated viewings, quoting dialogue, and/or audience participation. In the 1970s many of this movies were considered underground films and midnight showing movies. A main feature of a cult film is that it breaks social norms or is considered taboo. Cult films are many times considered controversial and have been kept alive by their dedicated fans. Many cult films include an excess of violence, gore, profanity, sexuality, or a combination of all. This leads many films to be controversial, censored, or even banned. One of the most popular cult films is “The Rocky Horror Picture Show” (1975), many
Film scholar and gender theorist Linda Williams begins her article “Film Bodies: Genre, Gender and Excess,” with an anecdote about a dispute between herself and her son, regarding what is considered “gross,” (727) in films. It is this anecdote that invites her readers to understand the motivations and implications of films that fall under the category of “body” genre, namely, horror films, melodramas, (henceforth referred to as “weepies”) and pornography. Williams explains that, in regards to excess, the constant attempts at “determining where to draw the line,” (727) has inspired her and other theorists alike to question the inspirations, motivations, and implications of these “body genre” films. After her own research and consideration, Williams explains that she believes there is “value in thinking about the form, function, and system of seemingly gratuitous excesses in these three genres,” (728) and she will attempt to prove that these films are excessive on purpose, in order to inspire a collective physical effect on the audience that cannot be experienced when watching other genres.
Of all the 1980’s films, that can be described as “Eighties Teen Movies” (Thorburn, 1998) or “High School Movies” (Messner, 1998), those written and (with the exception of “Pretty In Pink” (1986) and “Some Kind of Wonderful”(1987)) directed by John Hughes were often seen to define the genre, even leading to the tag “John Hughes rites de passage movies” as a genre definition used in 1990s popular culture (such as in “Wayne’s World 2” (1994 dir. Stephen Surjik)). This term refers to the half dozen films made between 1984 and 1987; chronologically, “Sixteen Candles” (1984), “The Breakfast Club” (1985), “Weird Science” (1985), “Ferris Bueller's Day Off” (1986), “Pretty In Pink” (1986) and “Some Kind Of Wonderful” (1987) (the latter two being directed by Howard Deutch). For the purpose of this study, “Weird Science” and “Some Kind of Wonderful” shall be excluded; “Weird Science” since, unlike the other films, it is grounded in science fiction rather than reality and “Some Kind of Wonderful” as its characters are fractionally older and have lost the “innocence” key to the previous movies: as Bernstein states “the youthful naivete was missing and the diamond earring motif [a significant gift within the film] was no substitute” (Bernstein, 1997, p.89). Bernstein suggests that the decadent 1980s were like the 1950s, “an AIDS-free adventure playground with the promise of prosperity around every corner … our last age of innocence” (Bernstein, 1997, p.1). The films were very much a product of the time in terms of their production (“suddenly adolescent spending power dictated that Hollywood direct all its energies to fleshing out the fantasies of our friend, Mr. Dumb Horny 14 Year Old” Bernstein, 1997, p.4), their repetition (with the growth of video cassette recorders, cable and satellite with time to fill, and also the likes of MTV promoting the film’s soundtracks) and their ideologies.
In recent times, such stereotyped categorizations of films are becoming inapplicable. ‘Blockbusters’ with celebrity-studded casts may have plots in which characters explore the depths of the human psyche, or avant-garde film techniques. Titles like ‘American Beauty’ (1999), ‘Fight Club’ (1999) and ‘Kill Bill 2’ (2004) come readily into mind. Hollywood perhaps could be gradually losing its stigma as a money-hungry machine churning out predictable, unintelligent flicks for mass consumption. While whether this image of Hollywood is justified remains open to debate, earlier films in the 60’s and 70’s like ‘Bonnie and Clyde’ (1967) and ‘Taxi Driver’ (1976) already revealed signs of depth and avant-garde film techniques. These films were successful as not only did they appeal to the mass audience, but they managed to communicate alternate messages to select groups who understood subtleties within them.
Barsam, R. M., Monahan, D., & Gocsik, K. M. (2012). Looking at movies: an introduction to film (4th ed.). New York: W.W. Norton & Co..