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Motion pictures --- Violence in motion pictures. --- Violence in moving-pictures

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Passionate Detachments investigates the rise of graphic violence in American films of the late 1960s and early 1970s and the popular aesthetics and critical responses this violence inspired. Amy Rust examines four technologies adopted by commercial American cinema after the fall of the Hollywood Production Code: multiple-camera montage, squibs (small explosive devices) and artificial blood, freeze-frames, and zooms. Approaching these technologies as figures, as opposed to mere tools, Rust traces the encounters they mediate between perception (what one sees, hears, and feels) and representation (how those sights, sounds, and feelings make meaning). These technologies, she argues, lend shape to film violence while organizing viewers' on- and off-screen relationships to it.The result proves meaningful for an era self-consciously and perilously preoccupied with bloodshed. The post-Code period found Americans across the political spectrum demanding visual—and increasingly violent—demonstrations of presumably "authentic" realities. Corroborating fantasies of authenticity from military to counterculture, these technologies challenge them as well, pointing, however unwittingly, to the violently classed, gendered, and racialized blind spots such fantasies harbor. More broadly, the technologies answer concerns that films control violence too much or too little. Offering neither mere discourse nor mere thrills, they recover sense and sensation for all, not some, or even most, depictions of bloodshed. As figures, the devices also remediate vision and violence for film theory, which exhibits distrust for each in spite of the complexities phenomenology and psychoanalysis have brought to cinematic perception and pleasure.

Violence in motion pictures. --- Motion pictures --- Violence in moving-pictures --- Social aspects

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speaks with Quentin Tarantino about the making of his film, and a host of scholars and critics, including Walter Johnson, Glenda Carpio, and Terri Francis, set the issue ablaze with provocative and searing commentary that speaks to the controversial film and its potent afterlife.

Violence in motion pictures. --- Violence in popular culture. --- Popular culture --- Violence in moving-pictures --- Motion pictures --- Django unchained (Motion picture)

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Civilized Violence provides a social and historical explanation for the popular appeal of cinema violence. Drawing on historical-sociology, cultural studies, feminist and queer theory, masculinity studies and textual analysis, Hansen-Miller explains how Modern society has concealed and denied the exercise of violence while retaining considerable power over how we live. Through engagement with specific narratives from the last century of film and the pervasive violence of contemporary cinema, Hansen-Miller investigates how representations can transform our understanding of how violence works.

Violence in motion pictures. --- Violence --- Psychic trauma in motion pictures. --- Traumatisme psychique --- Au cinéma. --- Psychic trauma in motion pictures --- Violence in motion pictures --- Violence in moving-pictures --- Motion pictures --- Au cinéma.

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Stories of violence — such as the account in Genesis of Cain’s jealousy and murder of Abel — have been with us since the time of the earliest recorded texts. Undeniably, the scourge of violence fascinates, confounds, and saddens. What are its uses in literature — its appeal, forms, and consequences? Anchored by Alice Kaplan’s substantial contribution, the thirteen articles in this volume cover diverse epochs, lands, and motives. One scholar ponders whether accounts of Huguenot martyrdom in the sixteenth-century might suggest more pride than piety. Another assesses the real versus the true with respect to a rape scene in The Heptameron . Female violence in fairy tales by Madame d’Aulnoy points to gender politics and the fragility of female solidarity, while another article examines similar issues in the context of Ananda Devi’s works in present-day Mauritius. Other studies address the question of sadism in Flaubert, the unstable point of view of Emmanuel Carrère’s L’Adversaire , the ambivalence toward violence in Chamoiseau’s Texaco , the notions of “terror” and “tabula rasa” in the writings of Blanchot, the undoing of traditions of narrative continuity and authority in the 1998 film, À vendre , and consequences of the power differential in a repressive Haiti as depicted in the film Vers le Sud (2005). Paradoxes emerge in several studies of works where victims may become perpetrators, or vice versa.

Violence in literature. --- Violence in motion pictures. --- French literature --- Motion pictures, French --- French literature. --- Motion pictures, French. --- French motion pictures --- Foreign films --- Violence in moving-pictures --- Motion pictures --- History and criticism.