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Popular culture influence on society
Popular culture influence on society
Popular culture influence on society
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Stone's Cynicism Exposed in Natural Born Killers
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.
Now that I've seen the movie, I'm left with questions_questions which kept my body shifting in bed all last night and my mind shifting from work all day today. Questions about life, death, humanity, and efficacy. Big questions, giant_the kind that could keep me in my own world for weeks if they weren't constantly forcing me to look at the world around me. This is an article of questions, of seeking answers, of wondering if, indeed, there are answers.
Stone's film is extreme in every way. Extreme in its violence. Extreme in its visual imagery, flashing hyper-speed bits of reality which don't quite register in one's mind. Extreme in its sit-com presentation of an abusive family as the ordinary stuff of entertainment. Extreme in its depiction of mass-murderers revered as icons of popular culture. Extreme in the banality with which the killers approach their crime.
Perhaps this extremity is what caused me to react so strongly to the film at first. The impact has by now lost its initial force, and I'm able to attempt to evaluate that impact. I feel ambivalent about the success of the movie, and by success, I mean neither monetary value nor entertainment value. I mean whether or not Stone was effective in conveying his message. In my estimation, he definitely had a message. It seems impossible to me that anyone could exit this movie not understanding that Stone is criticizing the glorification of violence. If the
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.
with people. In order to find her own "voice" in a society that is not
tries to make her disinterested in him so that again, he may concentrate on the
In today's day and age, it's rare to see famous historical events and societal disasters not be picked apart by film directors and then transformed into a box office hit. What these films do is put a visual perspective on these events, sometimes leaving viewers speculating if whatever was depicted is in fact entirely true. I have never felt that feeling more than after I finished watching Oliver Stone’s JFK.
In his controversial film, Stone arranges a meeting between a
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
In Ray Bradbury’s novel Fahrenheit 451, Mildred, the protagonist’s wife, casually sits in the parlor watching as “three white cartoon clowns chopped off each other’s limbs to the accompaniment of immense incoming laughter.” (Bradbury 94). Mildred watched and laughed as the clowns deformed each other; it was her way of entertainment. But “An online classroom dedicated to psychology, noted that “Children who view violence are more likely to have increased feelings of hostility, decreased emotional response to the portrayal of violence, and injury that lead to violent behavior through imitation.” (Scribner). But for many people, they not only see violence on television, but also in live screenings. Domestic violence consumes the lives of “4,774,000 women and 1,509 men” (Statistics) in the United States alone. But domestic violence is also present in Bradbury’s Fahrenheit 451. “He caught her, shrinking. He held her and she tried to fight away from him. He slapped her face, he grabbed her again, and shook her.” (Bradbury
This movie was inspiring and encouraging to anyone who is struggling with something. Overcoming his controversies in life became the main point of the movie. Knowing that this movie was based upon a true story inspires the people even more.
Gina Marchetti, in her essay "Action-Adventure as Ideology," argues that action- adventure films implicitly convey complex cultural messages regarding American values and the "white American status quo." She continues to say that all action-adventure movies have the same basic structure, including plot, theme, characterization, and iconography. As ideology, this film genre tacitly expresses social norms, values, and morals of its time. Marchetti's essay, written in 1989, applies to films such as Raiders of the Lost Ark and Rambo: First Blood II. However, action-adventure films today seem to be straying farther away from her generalizations about structure, reflecting new and different cultural norms in America. This changing ideology is depicted best in Oliver Stone's Natural Born Killers (1994), which defies nearly every concept Marchetti proposes about action-adventure films; and it sets the stage for a whole new viewpoint of action in the '90's.
Today’s society thrives on violence. Young children made pretend guns and shot at siblings, teenagers enjoyed video games which praised the player for kills, and adults flocked to see the latest horror movie, few people asked what effect this has on people and society. Some psychologists have started researching this effect. A study by Dr. Ferguson;...
In John Grisham’s essay “Unnatural Killers” he weaves a story of two love-struck teens (Sarah Edmondson and Benjamin Darras) on a killing spree that claimed the lives of one of Grisham’s close personal friends (Bill Savage) and the mobility of another woman (Patsy Byers). Grisham claims that these teens were influenced by Oliver Stone’s film Natural Born Killers and that “there exists a direct causal link between the movie Natural Born Killers and the death of Bill Savage”(577). Even though I must concede some of Grisham’s points, I still think that, whether the movie (Natural Born Killers) had an influence on the two teens or not it’s still their personal choices to shoot those people. The blame should be laid on Darras and Edmondson because of their decisions, not Oliver Stone because of his movie’s possible influence.
as if she is a child. The burden of trying to hide the symptoms of
Also, the Nigerian Barge incident was left unexplained in the middle of the movie, leaving unanswered questions. 6. List questions that you would have liked to see answered in the movie or ones you are interested in finding out more information. a. As I stated in the previous question, I am interested in knowing more about how the California electrical scandal was pulled off and who the key players in that equation where. Were the plant operators being paid
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
goes along with anything and anyone who comes along. Tired and disappointed with her early days at a low paying hard work