The Binaries of Audio-Visual Violence: Depiction of Violence from The Angles Of Urban And Rural Screenings (original) (raw)

Aestheticization of Violence in Hindi Cinema: A Case Study on Gangs of Wasseypur

The study of violence in media is not new. A number of theories have been formulated to discuss the violence in media content. Interestingly, most of these theories appear to be quite apprehensive about the effects of media violence. However, very little is discussed about the actual violence. Questions concerning its norms and representation are seldom addressed. Also, irrespective of its effects, the popularity of media violence simply cannot be ignored thus making for an interesting study. The research aims to study the process of aestheticization of violence in Hindi Cinema; and also to identify the tools used for the same and their respective roles. Data collection was done through unstructured interviews and qualitative content analysis of Anurag Kashyap’s Gangs of Wasseypur. Ten male and ten female respondents were chosen using purposive sampling technique for the unstructured interviews. The study highlights that film-makers aestheticize violence in the cinema using tools like narrative, unreal nature of the narrative, representation of weapons, language, and humour as a camouflage; also, that these tools of aestheticization of violence aid the process of characterization.

Violence in Bollywood Films: A Critical Analysis of 'Animal'

Mediaspace, 2024

The cinematic portrayal of violence has long been a subject of controversy. This study delves into the aspects of the film 'Animal', where the portrayal of violence and gore is evaluated for its impact on the audience mind-set and society. With the objective to analyse some critical aspects related to audience reactions, response to stimuli and societal implications of the portrayal of violence in this film, this study attempts to propose certain recommendations. A mixed method approach has been used in this study. Quantitative data was collected through survey method using snowball sampling technique and analysed. A qualitative analysis of the film's reviews, personal observation and focused group discussion was done. For the final outcome of the study the findings were triangulated. The study revealed that females were more in-disagreement to violent films made, released and watched by masses, such as 'Animal'. They were of the opinion that such films probably would have a very negative impact especially on the children, other than the society at large. On the other hand the male respondents showed their thrill, interest and liking towards these violent films as per the findings. Also the findings revealed that the male respondents had a mixed reaction in terms of favouring the making of these violent films. The study attempts to establish the complex relationships between entertainment, censorship and societal well-being, with an aim to put forth recommendations before the cinema industry stakeholders and policymakers.

Monani_In God’s Land: Cinematic Affect, Animation, and the Perceptual Dilemmas of Slow Violence.pdf

In this paper, I argue that Indian independent filmmaker Pankaj Rishi Kumar's documentary In God’s Land (2012) blends animation and live-action to illuminate the destructive nuances of postcolonial literary scholar, Rob Nixon's notion of slow violence. In turning to cinema, I also suggest that In God’s Land’s “aesthetic strategies” further eco-film scholarship’s recent interests in animation, which have tended to highlight the mode's "feel good affect." I draw attention to In God's Land's hybrid of dark, discordant animation spectacle interspliced in the documentary live-action to articulate the potential of eco-animation outside of this affect. Ultimately, the film not only draws attention to animation’s non-playful affect—its potentials and dilemmas, but I also suggest that reading such a film adds postcolonial understandings of cinema beyond the Western/Japanese center on with eco-animation scholars have so far focused.

Terror, Nation and Violence in Hindi Cinema

I am thankful to the editors for allowing me to reprint this version in English. 2 Hindi Cinema is often used interchangeably with commercial Hindi Cinema, Bombay Cinema, Bollywood and mainstream cinema in secondary criticism. I prefer using the term 'Hindi Cinema' given that not all films discussed in this paper could be qualified as 'commercial' or 'mainstream'. I avoid the term 'Bollywood' for its populist (mis)conception as an extension of Hollywood.

HOW DO WE DRAW THE PICTURE OF VIOLENCE? THE PERCEPTION OF SERIAL FILM

Television shown as one of the most important invents of 21th century has become an indispensable vehicle of daily life and it has also become one of the most interesting topics for scholars studying about communication sciences. Many studies being conducted so far has proved that television is so effective on people and especially children are directly affected by messages from television according to the findings of some international surveys. In this study, it is tried to determine how children perceive "Kurtlar Vadisi Pusu" having a political and mafia content and how children are affected by this serial. In this context, 50 students among 7-10 ages from a primary school in Konya were asked whether they watch "Kurtlar Vadisi Pusu" or not. 47 students declaring that we watch the serial were again asked what cross to their minds when they hear "Kurtlar Vadisi Pusu" the name of the serial and they were demanded to paint ideas in their minds. After the analysis of paintings by using perception analysis, it was seen that so many students gave place to guns, knives, blood and some other figures including violence in their paintings. Beside this, it was founded that almost all of the paintings were also designed on a conceptual thematic basis which includes fight, clash and murder.

Corporeal violence in art house cinema Cannes 2009

Taking 2009 Cannes Film Festival as a case study this article explores the narrative limits and possibilities of a global movement in art-house cinema: the portrayal of extreme corporeal violence – a movement that ranges from new French extreme to Asian extreme cinema. This study, on the one hand, explores how films that display extreme bodily violence as an eruptive force seek memorability in the competitive art-house film market. On the other hand, it suggests that on the eve of the 2009 global financial crisis, showing corporeal affect alludes to the disposability of bodies under a neoliberal economy obsessed with efficiency and adaptability.

ERRATA list for “Narrative Outbreak in Contemporary Conflict Cinema: A Case Study of Steve McQueen’s Hunger” & Original Essay

Mediations of Disruption in Post-Conflict Cinema - Mónica Dias, Alexandra Lopes, Adriana Martins (Orgs.) (London: Palgrave-Macmillan), 2016

[*****ERRATA list for “Narrative Outbreak in Contemporary Conflict Cinema: A Case Study of Steve McQueen’s Hunger”, Mediations of Disruption in Post-Conflict Cinema (London: Palgrave-Macmillan, 2016), 145-56. This essay was published with several minor/lethal changes in the text done without the author’s consent or acknowledgement. The original version of the essay follows the errata list.] The actual trust of a conflict movie such as Steve McQueen’s Hunger (IE, GB, 2008) is not a political narrative or counter-narrative, but the structural tension in a series of intense, harsh and aggressive sounds followed by silence. In Hunger we see a process of emancipation of indicial (visual and audio) elements in relation to their narrative function. The process is a deconstruction—an outbreak against the conceptual unity of the movie, which enables the emergence of fragmentary, non-subjective ontological issues that are fundamental to aesthetic experience beyond its merely psychological and social dimensions. The paper starts with a theoretical discussion relying in authors such as Gilles Deleuze, André Bazin and Michel Chion, and shows the relevance of this deconstructive ontological perspective in cinema studies.

Natural Born Killers", violence and contemporary culture

1999

This article focuses on Oliver Stone's controver-48 sial film, Natural Born Killers, in an attempt to determine the relationship between its use of multiform images and viewers' reception of the film. Specifically, the question is raised whether its concatenation of variegated images and image-types does not, perhaps, contribute to the systematic eradication of the distinction between the realm of cinematic images and everyday social reality, in this way preparing the way for a certain kind of social behaviour on the part of the viewers.

Scratching the Surface: For a reappraisal of Violence in Contemporary French Cinema

The Palgrave Handbook of Violence in Film and Media, 2022

Introduction: Understanding the Violent Image When Julia Ducournau's film Raw premiered at the Toronto International Film Festival in 2016, paramedics were called to the theater to respond to reports of fainting, nausea, and malaise among some viewers during the screening. "Cannibal horror film too Raw for viewers as paramedics are called" 1 and "Moviegoers fall ill while watching cannibalism film, Raw" 2 are just a couple of the headlines that appeared in the press at that time. The reason invoked for this urgent reaction was the film's realistic representation of cannibalism, with its numerous close-ups of human flesh being cut, bitten, or mutilated. Adam Gabbat, in his review of the film, deemed it "a blood and guts offering" (Gabbat 2016, para. 2). Notwithstanding their provocative and catchy phrasing, these reviews constitute a good starting point for the analysis of cinematic violence I seek to chart out in this essay. Indeed, the choice of words brings to light two essential aspects of the violent image this analysis hinges upon, namely the excess that characterizes the representation of extreme acts of violence, and the immediacy that defines the viewer's relationship to such representations. My intention is to bring about a renewed understanding of film violence that enables us to move past the initial shock of perception to analyze the mechanisms at work in the relationship that is established between the viewer