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Violence in art refers to depictions of violence in high culture art as well as popular culture such as cinema and theater. It has been the subject of considerable controversy and debate for centuries. In Western art, graphic depictions of the Passion of Christ have long been portrayed, as have a wide range of depictions of warfare by later painters and graphic artists. Theater and, in modern times, cinema have often featured battles and violent crimes. Similarly, images and descriptions of violence have historically been significant features in literature. Margaret Bruder, a film studies professor at Indiana University, states that the aestheticization of violence in film is the depiction of violence in a "stylistically excessive", "significant and sustained way". Aestheticized violence differs from gratuitous violence in that it is used as a stylistic element, and through the "play of images and signs" references artworks, genre conventions, cultural symbols, or concepts. [1]
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Plato proposed to ban poets from his ideal republic because he feared that their aesthetic ability to construct attractive narratives about immoral behaviour would corrupt young minds. Plato's writings refer to poetry as a kind of rhetoric, whose "...influence is pervasive and often harmful". Plato believed that poetry that was "unregulated by philosophy is a danger to soul and community". He warned that tragic poetry can produce "a disordered psychic regime or constitution" by inducing "a dream-like, uncritical state in which we lose ourselves in ...sorrow, grief, anger, [and] resentment". As such, Plato was in effect arguing that "What goes on in the theater, in your home, in your fantasy life, are connected" to what one does in real life. [2]
Politics of House of Medici and Florence dominate art depicted in Piazza della Signoria, making references to first three Florentine dukes. Besides aesthetical depiction of violence these sculptures are noted for weaving through a political narrative. [3]
The artist Hieronymus Bosch, from the 15th and 16th centuries, used images of demons, half-human animals and machines to evoke fear and confusion to portray the evil of man. The 16th-century artist Pieter Brueghel the Elder depicted "...the nightmarish imagery that reflect, if in an extreme fashion, popular dread of the Apocalypse and Hell". [4]
In the mid-18th century, Giovanni Battista Piranesi, an Italian etcher, archaeologist, and architect active from 1740, did imaginary etchings of prisons that depicted people "stretched on racks or trapped like rats in maze-like dungeons", an "aestheticization of violence and suffering". [5]
In 1849, as revolutions raged in European streets and authorities were putting down protests and consolidating state powers, composer Richard Wagner wrote: "I have an enormous desire to practice a little artistic terrorism." [6]
Laurent Tailhade is reputed to have stated, after Auguste Vaillant bombed the Chamber of Deputies in 1893: "Qu'importent les victimes, si le geste est beau? [What do the victims matter, so long as the gesture is beautiful]?" In 1929 André Breton's Second Manifesto on surrealist art stated that "L'acte surréaliste le plus simple consiste, revolvers aux poings, à descendre dans la rue et à tirer au hasard, tant qu'on peut, dans la foule" [The simplest Surrealist act consists of running down into the street, pistols in hand, and firing blindly, as fast as you can pull the trigger, into the crowd]." [6]
High culture forms such as fine art and literature have aestheticized violence into a form of autonomous art. This concept of an aesthetic element of murder has a long history; in the 19th century, Thomas de Quincey wrote,
Everything in this world has two handles. Murder, for instance, may be laid hold of by its moral handle... and that, I confess, is its weak side; or it may also be treated aesthetically, as the Germans call it—that is, in relation to good taste. [7]
In his 1991 study of romantic literature, University of Georgia literature professor Joel Black stated that "(if) any human act evokes the aesthetic experience of the sublime, certainly it is the act of murder". Black notes that "...if murder can be experienced aesthetically, the murderer can in turn be regarded as a kind of artist—a performance artist or anti-artist whose specialty is not creation but destruction." [8]
Film critics analyzing violent film images that seek to aesthetically please the viewer mainly fall into two categories. Critics who see depictions of violence in film as superficial and exploitative argue that such films lead audience members to become desensitized to brutality, thus increasing their aggression. On the other hand, critics who view violence as a type of content, or as a theme, claim it is cathartic and provides "acceptable outlets for anti-social impulses". [1] Adrian Martin describes the stance of such critics as emphasizing the separation between violence in film and real violence. To these critics, "movie violence is fun, spectacle, make-believe; it's dramatic metaphor, or a necessary catharsis akin to that provided by Jacobean theatre; it's generic, pure sensation, pure fantasy. It has its own changing history, its codes, its precise aesthetic uses." [9]
Margaret Bruder, a film studies professor at Indiana University and the author of Aestheticizing Violence, or How to Do Things with Style, proposes that there is a distinction between aestheticized violence and the use of gore and blood in mass market action or war films. She argues that "aestheticized violence is not merely the excessive use of violence in a film". Movies such as the popular action film Die Hard 2 are very violent, but they do not qualify as examples of aestheticized violence because they are not "stylistically excessive in a significant and sustained way". [1] Bruder argues that films such as such as Hard Target , True Romance and Tombstone employ aestheticized violence as a stylistic tool. In such films, "the stylized violence they contain ultimately serves as (...) another interruption in the narrative drive". [1]
A Clockwork Orange is a 1971 film written, directed, and produced by Stanley Kubrick and based on the novel of the same name by Anthony Burgess. Set in a futuristic England (circa 1995, as imagined in 1965), it follows the life of a teenage gang leader named Alex. In Alexander Cohen's analysis of Kubrick's film, he argues that the ultra-violence of the young protagonist, Alex, "...represents the breakdown of culture itself". In the film, gang members are "...[s]eeking idle de-contextualized violence as entertainment" as an escape from the emptiness of their dystopian society. When the protagonist murders a woman in her home, Cohen states that Kubrick presents a "[s]cene of aestheticized death" by setting the murder in a room filled with "...modern art which depict scenes of sexual intensity and bondage"; as such, the scene depicts a "...struggle between high-culture which has aestheticized violence and sex into a form of autonomous art, and the very image of post-modern mastery". [10]
Writing in The New York Times , Dwight Garner reviews the controversy and moral panic surrounding the 1991 novel and 2000 film American Psycho . Garner concludes that the film was a "coal-black satire" in which "dire comedy mixes with Grand Guignol. There's demented opera in some of its scenes." The book, meanwhile, has acquired "grudging respect" and has been compared to Anthony Burgess's A Clockwork Orange. [11] Garner claims that the novel's author, Bret Easton Ellis, has contributed to the aestheticization of violence in popular media: "The culture has shifted to make room for [Patrick] Bateman. We've developed a taste for barbaric libertines with twinkling eyes and some zing in their tortured souls. Tony Soprano, Walter White from " Breaking Bad ", Hannibal Lecter (who predates "American Psycho")—here are the most significant pop culture characters of the past 30 years... Thanks to these characters, and to first-person shooter video games, we've learned to identify with the bearer of violence and not just cower before him or her."
In Xavier Morales' review of Quentin Tarantino's Kill Bill: Volume 1 , he calls the film "a groundbreaking aestheticization of violence". [12] Morales argues that, similarly to A Clockwork Orange, the film's use of aestheticized violence appeals to audiences as an aesthetic element, and thus subverts preconceptions of what is acceptable or entertaining. [12]
Stanley Kubrick was an American filmmaker and photographer. Widely considered one of the greatest filmmakers of all time, his films were nearly all adaptations of novels or short stories, spanning a number of genres and gaining recognition for their intense attention to detail, innovative cinematography, extensive set design, and dark humor.
Genre is any style or form of communication in any mode with socially-agreed-upon conventions developed over time. In popular usage, it normally describes a category of literature, music, or other forms of art or entertainment, based on some set of stylistic criteria Often, works fit into multiple genres by way of borrowing and recombining these conventions. Stand-alone texts, works, or pieces of communication may have individual styles, but genres are amalgams of these texts based on agreed-upon or socially inferred conventions. Some genres may have rigid, strictly adhered-to guidelines, while others may show great flexibility.
A genre of arts criticism, literary criticism or literary studies is the study, evaluation, and interpretation of literature. Modern literary criticism is often influenced by literary theory, which is the philosophical analysis of literature's goals and methods. Although the two activities are closely related, literary critics are not always, and have not always been, theorists.
American Psycho is a novel by American writer Bret Easton Ellis, published in 1991. The story is told in the first-person by Patrick Bateman, a wealthy, narcissistic, vain Manhattan investment banker who supposedly lives a double life as a serial killer. Alison Kelly of The Observer notes that while "some countries [deem it] so potentially disturbing that it can only be sold shrink-wrapped", "critics rave about it" and "academics revel in its transgressive and postmodern qualities".
Mimesis is a term used in literary criticism and philosophy that carries a wide range of meanings, including imitatio, imitation, nonsensuous similarity, receptivity, representation, mimicry, the act of expression, the act of resembling, and the presentation of the self.
An art film, art cinema, or arthouse film, is typically an independent film, aimed at a niche market rather than a mass market audience. It is "intended to be a serious, artistic work, often experimental and not designed for mass appeal", "made primarily for aesthetic reasons rather than commercial profit", and containing "unconventional or highly symbolic content".
The Black Arts Movement (BAM) was an African American-led art movement that was active during the 1960s and 1970s. Through activism and art, BAM created new cultural institutions and conveyed a message of black pride. The movement expanded from the incredible accomplishments of artists of the Harlem Renaissance.
Ethnopoetics is a method of recording text versions of oral poetry or narrative performances that uses poetic lines, verses, and stanzas to capture the formal, poetic performance elements which would otherwise be lost in the written texts. The goal of any ethnopoetic text is to show how the techniques of unique oral performers enhance the aesthetic value of their performances within their specific cultural contexts. Major contributors to ethnopoetic theory include Jerome Rothenberg, Dennis Tedlock, and Dell Hymes. Ethnopoetics is considered a subfield of ethnology, anthropology, folkloristics, stylistics, linguistics, literature and translation studies.
Homoeroticism is sexual attraction between members of the same sex, including both male–male and female–female attraction. The concept differs from the concept of homosexuality: it refers specifically to the desire itself, which can be temporary, whereas "homosexuality" implies a more permanent state of identity or sexual orientation. It has been depicted or manifested throughout the history of the visual arts and literature and can also be found in performative forms; from theatre to the theatricality of uniformed movements. According to the Oxford English Dictionary, it is "pertaining to or characterized by a tendency for erotic emotions to be centered on a person of the same sex; or pertaining to a homo-erotic person."
A Clockwork Orange is a 1971 dystopian crime film adapted, produced, and directed by Stanley Kubrick, based on Anthony Burgess's 1962 novel of the same name. It employs disturbing, violent images to comment on psychiatry, juvenile delinquency, youth gangs, and other social, political, and economic subjects in a dystopian near-future Britain.
Graphic violence refers to the depiction of especially vivid, brutal and realistic acts of violence in visual media such as film, television, and video games. It may be real, simulated live action, or animated.
Rape and revenge, or rape-revenge, is a film subgenre characterized by an individual enacting revenge for rape or other sexual acts committed against them. Rape and revenge films are commonly horror films, thrillers, or vigilante films.
New Extreme Films describes a range of transgressive films made at the turn of the 21st century that sparked controversy, and provoked significant debate and discussion. They were notable for including graphic images of violence, especially sexual violence and rape, as well as explicit sexual imagery.
Camera Works: Photography and the Twentieth-Century Word is a work of literary and cultural studies by Michael North, a professor of English at UCLA. It is the winner of the 2006 Modernist Studies Association Book Prize.
Stanley Kubrick's A Clockwork Orange is a soundtrack album released in 1972 by Warner Bros. Records, featuring music from Stanley Kubrick's 1971 film A Clockwork Orange. It includes pieces of classical music and electronic music by American composer and musician Wendy Carlos, whom Kubrick hired to write the film's original score. Music that Carlos recorded for the film that remained unreleased, including complete tracks, was released three months later on her album Walter Carlos' Clockwork Orange.
Murder in a Blue World is a 1973 Spanish-French dystopian science fiction/crime/horror film directed by Eloy de la Iglesia and starring Sue Lyon, Christopher Mitchum and Jean Sorel.
The representation of gender in horror films, particularly depictions of women, has been the subject of critical commentary.
A list of books and essays about Stanley Kubrick and his films.
David Jhave Johnston is a Canadian poet, videographer, and motion graphics artist working chiefly in digital and computational media,. and a researcher at the Center for Digital Narrative at the University of Bergen. This artist's work is often attributed, simply, to the name Jhave.
Jade Ladder: Contemporary Chinese Poetry is a 2012 anthology of contemporary Chinese poetry translated into English. The collection contains more than 200 poems from 53 poets. Nearly half are previously published English translations recommended by Chinese poet Yang Lian and the poet-critic Qin Xiaoyu, while the rest are new translations by Brian Holton. Native Cantonese and Chinese speaker Lee Man-Kay also contributed to the anthology.