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Case study in violent behavior
Describe the role of heredity and environment in violent behavior
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The popularity of professional wrestling programs has sky rocketed since the early nineties, and with it so has the popularity of the regular weekly programs that depict it. This is good for business of course, more viewers means more money. But with the rise in popularity of these programs there has also been a rise in violence and incidents that are related to these programs as well. The die-hard fans of professional wrestling will argue that there is no real danger in performing the acts they see in the show, or that there is no way that these shows could cause violence in viewers because it is clearly fake. And they have a valid point, there is no real danger if you are a trained professional who has been practicing the techniques for years and know how to properly perform them. Fans will argue that there is no problem with the shows, that there is no violence being caused by them but the scholars would argue otherwise. Psychologists such as Matthew Bernthal (Bernthal 2005) and Jablonski (Jablonski 1995) have both done research that would argue against these die-hard fans, that have specific examples of violence in viewers and could prove there may indeed be a problem with viewing these programs regularly. This is where my research paper comes into play, is there indeed a problem? Do these programs prevent unnecessary violence? And if so, how do they cause it? Even though the fans will say that the programs are harmless and don’t cause violence in the viewers as long as they understand it is fake, there is indeed research that proves that these professional wrestling programs have caused violent acts in viewers and this research is able to provide specific examples and studies that prove it.
With this research I will use ...
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...restling." School Psychology International 26.2 (2005): 224-242.
DuRant, R., Neiberg, R., Champion, H., Rhodes, S., & Wolfson, M. (2007). Viewing professional wrestling on television and engaging in violent and other health risk behaviors by a national sample of adolescents. Journal Of Adolescent Health, 40(2), S26.
Jablonski, C. K. and Zillmann, D. (1995) ‘Humor’s Role in the Trivialization of Violence’, Media Psychology: Periodical for Individual and Mass Communication 7: 122–33.
Ridberg, R. (2002). Wrestling with Manhood: Boys, Bullying, and Battering. Northhampton, MA: Media Education Foundation.
Tamborini, R., Skalski, P., Lachlan, K., Westerman, D., Davis, J., & Smith, S. L. (2005). The Raw Nature of Televised Professional Wrestling: Is the Violence a Cause for Concern?. Journal Of Broadcasting & Electronic Media, 49(2), 202-220
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
Steve Almond’s “Funny is the New Deep” talks of the role that comedy has in our current society, and most certainly, it plays a huge role here. Namely, through what Almond [Aristotle?] calls the “comic impulse”, we as a people can speak of topics that would otherwise make many of uncomfortable. Almond deems the comic impulse as the most surefire way to keep heavy situations from becoming too foreboding. The comic impulse itself stems from our ability and unconscious need to defend and thus contend with the feeling of tragedy. As such, instead of rather forcing out humor, he implies that humor is something that is not consciously forced out from an author, but instead is more of a subconscious entity, coming out on its own. Almond emphasizes
The movie, Tough Guise: Violence, Media and the Crisis in Masculinity produced by Jackson Katz and Jeremy Earp, deconstructs the concepts that create the social constructs of masculinity. Masculinity, a set of behaviors, roles, and attributes correlating to men, is earned, not given (Conley 190). Starting from television shows to children’s toys, the idea of masculinity has infiltrated their minds starting at a young age. Moreover, the concept of masculinity has physical attributes, such as muscles, a deep voice, and be able to protect themselves. Masculinity, for boys of any races, socioeconomic classes, or ethnicity, has grown up with the same stereotypical image of what a man should entail. Since many media outlets show that a form of masculinity
Kaplan, R.M. & Singer, R.D. (1976). TV violence and viewer aggression: A reexamination of the evidence. Journal of Social Issues, 32, 33-70.
In Alain de Botton’s book, Status Anxiety, he argues that the aim of humorists is not solely entertainment, but also to convey a message that isn’t always okay to state directly. There are many places where his argument can apply. Even with humor, some topics are still too controversial to joke about; However, in most cases, humor can lighten things up and make it easier to discuss topics that otherwise would not be as easy to talk about without heavy arguments. There are many cases that would make his argument true. There are many examples that support his argument, and that help to show the importance of humor in arguing, including cartoons, comics, works of literature, and also when thinking of hosts of television programs.
Coakley, J. J., & Donnelly, P. (2007). Violence in Sports . Sports in society: issues & controversies (9th ed., pp. 198-199). Boston: McGraw-Hill Higher Education.
Television with its far reaching influence spreads across the globe. Its most important role is that of reporting the news and maintaining communication between people around the world. Television's most influential, yet most serious aspect is its shows for entertainment. Violent children's shows like Mighty Morphing Power Rangers and adult shows like NYPD Blue and Homicide almost always fail to show human beings being able to resolve their differences in a non-violent manner; instead they show a reckless attitude that promotes violent action first with reflection on the consequences later. Contemporary television creates a seemingly insatiable appetite for amusement of all kinds without regard for social or moral benefits (Schultze 41). Findings over the past twenty years by three Surgeon Generals, the Attorney General's Task Force on Family Violence, the American Medical Association, the National Institute of Mental Health, the American Psychiatric Association, the American Psychological Association, the American Academy of Pediatrics, and other medical authorities indicate that televised violence is harmful to all of us, but particularly to the mental health of children (Medved 70-71).
McMurtry, a former football paper, utilizes comparison, hyperbole, and juxtaposition to effectively develop the idea that American society accepts violence and brutality within sports, which reveals the sadistic side of the world. To repair this attitude, however, all of the violent aspects of sports cannot simply be removed. For example, if the tackling part of football was eradicated, the sport would change completely and, consequently, lose much of what gives the sport its redeeming qualities and entertainment for the audience. Tackling does not make the sport violent; it is the violent characteristics of the players and the coaches combined with the constant encouragement stemming from the audience. Violence is a terrible thing, and it will never be completely removed unless each person works together to suppress their behaviors.
How do you market violence? Can the general public be persuaded to look at unarmed combat as a legitimate sport? Through the course of the paper, I will discuss all the aspects of the marketing mix, and how they are utilized by the mixed martial arts promotion The Ultimate Fighting Championship. I will also discuss the effect of their current marketing stratagem, and the impact to their booming business.
McMahon, R. (November 2006). Parents, coaches who need time-outs. Adult violence at kids' sports sets a terrible example. Retrieved February 2011 from SFGate.com Website: www.sfgate.com.
Media violence has been a popular excuse for the rising crime rates ever since the Vietnam War. During this time in America, there was a tremendous increase in the amount of violent crimes being committed (“United States Crime Rates”) Scared parents and war protestors blamed this increase in violence on the great media coverage that the Vietnam War was receiving, which portrayed bloody battles and dying soldiers (Jones 40). The public went so far in their belief that media violence was detrimental to children that they managed to ban all violent cartoons from television during the 1970s, as well as eradicate any violent toys, such as plastic army soldiers.
The debate about media violence has been going on for hundreds of years. The newest form of media being scrutinized is videogames. I will be taking you through this debate and sharing with you some things that you may find surprising. This is not a new topic and has ...
Television violence, and media violence in general, has been a controversial topic for several years. The argument is whether young children are brainwashed into committing violent real-world crimes because of violent and pugnacious behavior exposed in mass media. In his article “No Real Evidence for TV Violence Causing Real Violence”, Jonathan Freedman, a professor of psychology at the University of Toronto and author of “Media Violence and Its Effect on Aggression: Assessing the Scientific Evidence”, discusses how television violence, claimed by the Federal Communications Commission (FCC), does not cause real-world aggression among adolescents. The FCC determined to restrict violent television programming to late night hours only because their “scientific research” proves of increasing aggression among young viewers (Freedman Par. 2). Freedman goes on to explain that the FCC has no substantial scientific evidence stating that there is a correlation between fictional violence and real-world aggression among young audiences. He has completed research in 1984 and 2002 on the relationship between media violence to actual acts of violence on the street. Because he has completed research projects related to this topic, Freedman’s statistical evidence shows that there is a reduction in youth violence and it essentially does not cause real-world crimes (Freedman Par. 1). The FCC continues to claim that exposure to media violence does in fact increase aggression, and yet their readers continue to believe their fabrications. Freedman argues that people who research media violence tend to disregard and omit the opposing facts. No one type of violence is more effective on aggression than another type. There is no evidence showi...
Even though violence is apart of our lives, I think society can limit the amount of violent programs that they watch. If people limit watching violence on television maybe the world wouldn’t be as involved with violence as it is now. Based on this data, I have concluded that Marie Winn is correct about television being a serious addiction.
Television violence is also a cause of both violent and aggressive behavior in teenage boys. According to the evidence in a study done by Turner, Hesse, and Peterson-Lewis, it was concluded that watching television violence had a long-term increase in aggression in boys (Hough 1). In addition to this study, Dr. William A. Belson evaluated fifteen hundred boys, aged thirteen to sixteen years, and he determined that boys with heavy television exposure are more likely to commit violent acts than other boys (Langone 51). In Belson’s study, he discovered that the effect of each violent act on television was collective, and over time, Belson discovered that the boys engaged in many aggressive acts, including painting graffiti, breaking windows, aggressive play, swearing, and threatening other boys with violence (Kinnear 26).