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Books on the topic 'Depiction of violence'
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1
Lawston, Andrew Kenneth. An examination of the depiction of violence in the early films of Jean-Luc Godard (1960-1967). Birmingham: University of Birmingham, 2003.
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2
Letvin, Alice Owen. Sacrifice in the surrealist novel: The impact of early theories of primitive religion on the depiction of violence in modern fiction. New York: Garland Pub., 1990.
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3
Explaining the depiction of violence against women in victorian literature: Applying Julia Kristeva's theory of abjection to Dickens, Brontë, and Braddon. Lewiston, N.Y: Edwin Mellen Press, 2006.
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4
Letvin, Alice Owen. Sacrifice in the Surrealist Novel: The Impact of Early Theories of Primitive Religion on the Depiction of Violence in Modern Fiction (Garland Studies in Comparative Literature). Tuttle Publishing, 1991.
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5
Bliss, Michael, ed. A Uniquely American Epic. University Press of Kentucky, 2019. http://dx.doi.org/10.5810/kentucky/9780813178141.001.0001.
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Widely acknowledged as a highly innovative film, Sam Peckinpah’s The Wild Bunch was released in 1969. From the outset, the movie was considered controversial because of its powerful, graphic, and direct depiction of violence, but it was also praised for its lush photography, intricate camera work, and cutting-edge editing. Peckinpah’s tale of an ill-fated, aging outlaw gang bound by a code of honor is often regarded as one of the most complex and influential Westerns in American cinematic history. The issues dealt with in this groundbreaking film—violence, morality, friendship, and the legacy of American ambition and compromise—are just as relevant today as when the film first debuted. To honor the significance of The Wild Bunch, this collection brings together leading Peckinpah scholars and critics to examine what many consider to be the director’s greatest work. The book’s nine essays explore the function of violence in the film and how its depiction is radically different from what is seen in other movies; the background of the film’s production; the European response to the film’s view of human nature; and the role of Texas/Mexico milieu in the narrative.
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Martin, Daniel. The Enduring Cult of The Bride with White Hair: Chivalry and the Monstrous Other in the Hong Kong Fantasy-Horror. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474424592.003.0005.
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The Bride with White Hair (Ronny Yu, 1993) tells the tale of a heroic swordsman’s ill-fated love affair with a woman transformed by hatred into a white-haired killer, elevated the figure of the frosty-follicled executioner into one of the most enduring icons of the Hong Kong horror film. The timelessness and mysticism of the story lends itself to a highly hybridized type of horror, offering wuxia (swordplay), magical fantasy, romance and erotic scintillation alongside bloody fights, savage violence, and a monstrous depiction of malevolent conjoined twins. This chapter examines this film as emblematic of a particular cultural moment in the development of the Hong Kong fantasy-horror, appealing to a global fanbase for its supposedly transgressive and erotic content, and analyses the film in terms of its generic hybridity, its depictions of disability and morality, as well as in the context of the international marketing and reception of cult Hong Kong horror of the 1990s.
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Marmysz, John. The Lure of the Mob: Cinematic Depictions of Skinhead Authenticity. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474424561.003.0008.
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This chapter focuses on films featuring neo-Nazi skinheads. The films Romper Stomper, American History X, and The Believer are examined and found to contain examples of characters who, despite their racism and violence, are depicted in a sympathetic light. The ideas of Martin Heidegger are draw upon to demonstrate that this sympathetic depiction is dependent upon the fact that the neo-Nazi characters are engaged in a struggle to understand and take responsibility for their authentic selves. It is argued that the backdrop of right-wing ideology serves, in these films, to provide the set of ideals against which the main characters come to define themselves. In the course of these dramas, the active, nihilistic struggles of the main characters eventually culminate in self-understanding and the acceptance of personal responsibility. In their tragic conclusions, these movies illustrate the consequences of actively struggling against, and being liberated from, ideals that are hollow.
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Kozelsky, Mara. The Kerch Strait and the Azov Sea. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190644710.003.0008.
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With warmer weather returning in the spring of 1855, fighting renewed and spread to the southern and eastern parts of the peninsula. In May and June, the Allies struck at Yalta, Feodosia. They entered the strait of Kerch, bringing widespread destruction to towns along the Azov Sea. The Allies waged economic warfare. Invading soldiers razed homes, and decimated industry. The Russian military, meanwhile, enacted scorched earth policies and destroyed the food it could not relocate. The intensification of violence prompted a new refugee crisis. This chapter gives a depiction of the mercenary aspect of Allied campaigns and offers a rare glimpse into Russian efforts to alleviate the strain of war upon the civilian population. The chapter concludes with an assessment of war damages in the region.
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Harford Vargas, Jennifer. Coda. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190642853.003.0007.
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The coda examines how cultural producers contribute to the Latina/o counter-dictatorial imaginary using non-print-based artistic forms. It focuses in depth on the murals in Balmy Alley in San Francisco’s Mission District, examining how their depiction of authoritarian repression in Central America coexists alongside representations of other forms of oppression in the United States. The murals generate linked histories of violence and are material testaments to interracial solidarity and a collective struggle for social justice. The coda’s analysis of the palimpsests of paint and the visual polyphony across the walls of Balmy Alley adds another texture and layer to the counter-dictatorial imaginary traced in the preceding chapters. It ends by suggesting that other forms of Latina/o cultural production such as music, film, and Day of the Dead altars work together with the murals and the novel to capture the afterlives of the dictatorial past and current dictatorial forms of oppression.
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Shannon, James. Violent exclusion: The depiction of terrorism in contemporary Northern Irish writing. [Belfast], 1998.
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11
Zola, Émile. Earth. Edited by Brian Nelson. Translated by Julie Rose. Oxford University Press, 2016. http://dx.doi.org/10.1093/owc/9780199677870.001.0001.
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‘Only the earth is immortal…the earth we love enough to commit murder for her.’ Zola's novel of peasant life, the fifteenth in the Rougon-Macquart series, is generally regarded as one of his finest achievements, comparable to Germinal and L'Assommoir. Set in a village in the Beauce, in northern France, it depicts the harshness of the peasants’ world and their visceral attachment to the land. Jean Macquart, a veteran of the battle of Solferino and now an itinerant farm labourer, is drawn into the affairs of the Fouan family when he starts courting young Françoise. He becomes involved in a bitter dispute over the property of Papa Fouan when the old man divides his land between his three children. Resentment turns to greed and violence in a Darwinian battle for supremacy. Zola's unflinching depiction of the savagery of peasant life shocked his readers, and led to attacks on Naturalism's literary agenda. This new translation captures the novel's blend of brutality and lyricism in its evocation of the inexorable cycle of the natural world.
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Weisband, Edward. From Collective Violence to Human Violation. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190677886.003.0002.
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This chapter argues that the psychodynamics of desire contribute to the transformation of “ordinary” individuals into those who directly and indirectly support or engage in genocide, mass atrocity, and their performative dramaturgies. The chapter describes the practices of the macabresque in terms of noir ecstasy and the psychodynamics of obscene surplus enjoyment in the transgressive theaters of human violation. Comparative depictions of the macabresque in the Guatemalan, Chilean, Sri Lankan, Congolese, Darfurian, and other cases are framed by Lacanian psychosocial theory and concepts focused on ideology, fantasy, and personality that analytically transitions from festivality and the carnivalesque to the macabresque. Human violation and the desire for absolute power drive perpetrator behavior in ways that normalize their anti-normative or anomic hatred and enemy-making relative to victims’ fixed, fixated, and frozen identitarian categories that become naturalized, and often racialized. Victims suffer racialization by means of forced displacement. This produces spatialized “islands” of demonization.
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Riddle, Nick. The Damned. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781911325529.001.0001.
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The Damned (1963) is the most intriguing of director Joseph Losey's British “journeyman” films. A sci-fi film by a director who hated sci-fi; a Hammer production that sat on the shelf for over two years before being released with almost no publicity as the second half of a double bill. Losey was a director vocal in his dislike of depictions of physical violence, but he often made films that radiate an energy produced by a violent clash of elements. The Damned catches a series of collisions — some of them inadvertent — and traps them as if in amber. Its volatile elements include Losey, the blacklisted director; Hammer, the erratic British studio, Oliver Reed, the 'dangerous' young actor, and radioactive children. This book concentrates on historical and cultural context, place, genre, and other themes in order to try to make sense of a fascinating, underappreciated film.
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Nasifoglu, Yelda. Embodied Geometry in Early Modern Theatre. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190490447.003.0015.
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Reflecting on the anonymous academic comedy Blame Not Our Author written during the Counter-reformation at the English College in Rome, this short piece addresses some of early modern anxieties about embodiment, specifically the uncomfortably close relationship between forms and their definitions. Featuring mathematical shapes and instruments as its characters, and coinciding with academic debates about Euclidean geometry, the play is ostensibly about a hapless square that wants to attain perfection by becoming a circle, willing to even endure torture in the process. The play’s surprising violence reflects the fears of execution attached to the College’s main mission of reconverting England to Catholicism. Despite resulting in the torture and death of dozens of its alumni, martyrdom was equally celebrated with frescoes depicting violent mutilations. The square’s ultimate failure raises questions about the potency of earthly instruments, of geometry or of torture, and the possibility and consequences of bodily transformation.
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Baker, Courtney R., ed. Civil Rights and Battered Bodies. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039485.003.0005.
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This chapter examines the publication of images depicting violence against people engaged in acts of nonviolent resistance, suggesting that these acts are deliberately choreographed dramatizations of racial injustice. It links the overarching goals of the civil rights movement to the enduring struggle for black humanity in America by focusing on the violence encountered during nonviolent actions and the aesthetics of their visual documentation through photography and documentary footage. The chapter highlights the strategy of nonviolent direct action that was taken up during the freedom rides, lunch-counter integrations, and marches of the 1960s as stark illustrations of the infringements upon black humanity and freedom of expression endured and indeed endorsed in the southern United States.
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Ellis, Markman. Novel and Empire. Edited by Alan Downie. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199566747.013.022.
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This essay examines novel’s relation with empire through the relationship between the form of the novel and the ideology of empire. It analyses the themes of colony and cross-cultural global encounters in popular prose subgenres of the eighteenth century, including the robinsonade, imitations of Crusoe’s island adventures, and the oriental tale, free imitations of the Islamic story collection. Although contemporary discourse on the British Empire argued that it was founded on ideas of liberty, commerce, and Christianity, the problem of slavery presented a powerful contradiction and growing controversy. Depictions of slavery in the sentimental novel advertised the asymmetrical violence endemic to the slave system, contributing to the emerging campaign for the abolition of the slave trade and, eventually, the emancipation of the slaves. Nonetheless, Gothic fictions found creative potential in the terrors of slavery and in folk beliefs derived from slave society, such as obeah and the zombie.
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Zola, Émile. La Débâcle. Edited by Robert Lethbridge. Translated by Elinor Dorday. Oxford University Press, 2017. http://dx.doi.org/10.1093/owc/9780198801894.001.0001.
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‘My title speaks not merely of war, but also of the crumbling of a regime and the end of a world.’ The penultimate novel of the Rougon-Macquart cycle, La Débâcle (1892) takes as its subject the dramatic events of the Franco-Prussian War and the Commune of 1870-1. During Zola's lifetime it was the bestselling of all his novels, praised by contemporaries for its epic sweep as well as for its attention to historical detail. La Débâcle seeks to explain why the Second Empire ended in a crushing military defeat and revolutionary violence. It focuses on ordinary soldiers, showing their bravery and suffering in the midst of circumstances they cannot control, and includes some of the most powerful descriptions Zola ever wrote. Zola skilfully integrates his narrative of events and the fictional lives of his characters to provide the finest account of this tragic chapter in the history of France. Often compared to War and Peace, La Débâcle has been described as a ‘seminal’ work for all modern depictions of war.
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Hudson, Dale. Terrorist Vampires: Religious Heritage or Planetary Advocacy. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474423083.003.0007.
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This chapter unpacks depictions of US foreign policy in Hollywood blockbusters, franchises, and series, whose content was repurposed and production was often offshored. Vampire hunters perform the racialized warfare of the failed War on Drugs and ongoing War on Terror. Vampires advocate for planetary consciousness after neoliberalism’s ascendancy. Bram Stoker’s Dracula (1992), From Dusk till Dawn (1995), and Vampires (1998) organize fears of so-called Islamic fundamentalists and Mexican border hoppers. Deterritorialized biological warfare also manifests in films that return to the historical trauma of mixed blood via stories of mixed species in franchises like Blade (1998–2004) and Underworld (2003–2016) and series like True Blood (2008–2014), The Vampire Diaries (2009–present), and The Originals (2013–present). Others examine resilience through multiple conquests, as in Cronos (1992) set in México’s federal district and released on the quincentennial of Columbus’s conquest. Meanwhile, the Twilight franchise (2008–2012) christianizes the figure of the vampire and, by extension, the concept of the US secular democracy, but also evokes indigenous rights to land. Films ask us to find a space for empathy amidst the terror of economic and military violence.
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Doughan, Christopher. The Voice of the Provinces. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781786942258.001.0001.
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This book provides a comprehensive depiction of Ireland’s regional press during the turbulent years leading up to the foundation of the Irish Free State following the Anglo-Irish Treaty of 1921. It investigates the origins of the regional papers that reported this critical period of Irish history and profiles the personalities behind many of these publications. Furthermore, this book presents case studies of seventeen newspapers – nationalist, unionist, and independent – across the four provinces of Ireland. These case studies not only detail the history of the respective newspapers but also closely scrutinises the editorial commentary of each publication between 1914 and 1921. Consequently, a thorough analysis of how each of these regional titles responded to the many dramatic developments during these years is provided. This includes seminal events such as the outbreak of World War I, the Easter Rising of 1916, the rise of the Sinn Féin party, the War of Independence, and the Anglo-Irish Treaty of 1921. During this time many of Ireland’s regional newspaper titles faced censorship, suppression, and in some cases, violent attack on their premises that threatened their livelihood. In some instances, newspaper owners, editors, and their staff were arrested and imprisoned. Their experiences during these years are meticulously detailed in this book.
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Elfman, Rose. Slapstick Against Stereotypes in South Sudan’s Cymbeline. Edited by James C. Bulman. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199687169.013.1.
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The South Sudan Theatre Company (SSTC) brought its Juba Arabic translation of Cymbeline to the Globe to Globe Festival in London in 2012 amid expectations that the production would represent the country’s recent independence struggle. Associating the African country with violent conflict while representing Shakespeare as a force for peace, the advance publicity for the production repeated neocolonial tropes that stereotypically inform both entities. The production itself, however, presented a very different version of both ‘Shakespeare’ and ‘Africa’. Instead of depicting a bloody war that yields to reconciliation only after great suffering, the SSTC retold Cymbeline as a melodramatic, slapstick comedy. The production’s playfulness opened a space for the company to deflect, redirect, and expose to question the very process of constructing knowledge. The obligation to represent South Sudan therefore became an opportunity to challenge the structures of thought undergirding stereotypes about the country and the African continent.
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Tulloch, John, and Belinda Middleweek. Real Sex Films. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190244606.001.0001.
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Within the domain of film studies, the recent surge in films depicting graphic and high-impact sex and sexualized violence has been variously classified under the terms transgressive, brutal, provocative, real sex, and extreme cinema. These classifications, however, tend to underplay the films’ sociohistorical contexts and reflexive struggle for meaning. We argue that the similarities and differences between these real or simulated sex films are determined and mediated within geographical space and historical time. But every film book has its own personal historical starting point: in our case, this is the coming together as intertexts of the real sex film Intimacy with a major academic text, The Transformation of Intimacy, and as authorial agents of a television and documentary film producer and a media academic. This book argues that the meanings we attach to “real sex” cinema are discursively constructed not only by academic experts but by filmmakers, performers, audiences, and film reviewers. Debates about the meaning of real sex cinema are best understood in dialogue, and for the first time in interdisciplinary studies, we foster “mutual understanding” and “critical extension” among new risk sociology, feminist mapping theory, feminist film studies, and film reviewers, while also embracing film/media studies concepts of production, social audiences and spectators, genre, narrative, authorship, and stars. Above all, this is an interdisciplinary book, which engages with, supports, critiques, and extends each of these professional fields of discourse, each with its own schema of filmic understanding.
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Schellenberg, Ryan S. Abject Joy. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190065515.001.0001.
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No extant text gives so vivid a glimpse into the experience of an ancient prisoner as Paul’s letter to the Philippians. As a letter from prison, however, it is not what one would expect. For although it is true that Paul, like some other ancient prisoners, speaks in Philippians of his yearning for death, what he expresses most conspicuously is contentment and even joy. Setting aside pious banalities that contrast true joy with happiness, and leaving behind too heroic depictions that take their cue from Acts, Abject Joy offers a reading of Paul’s letter as both a means and an artifact of his provisional attempt to make do. By outlining the uses of punitive custody in the administration of Rome’s eastern provinces and describing prison’s complex place in the social and moral imagination of the Roman world, this book provides a richly drawn account of Paul’s non-elite social context, where bodies and their affects were shaped by acute contingency and habitual susceptibility to violent subjugation. Informed by recent work in the history of emotions, and with comparison to modern prison writing and ethnography provoking new questions and insights, Abject Joy describes Paul’s letter as an affective technology, wielded at once on Paul himself and on his addressees, that works to strengthen his grasp on the very joy he names.