The Blood Poets: A Cinema of Savagery 1958-1999, Volume 1Increasingly, society questions the connection between violence in entertainment and violence in life. Moralists and censors would reply resoundingly that media violence and social violence are directly linked, but others ask the deeper question: Why do people feel the need to create images of violence, and why do audiences continually watch them? In this thought-provoking and insightful study of American violent cinema, author Jake Horsley attempts to answer these questions by tying together the multiple disciplines of psychology, criminology, censorship, and anthropology. Horsley divides the forty years of his study into two volumes: American Chaos: From Touch of Evil to The Terminator, and Millennial Blues: From Apocalypse Now to The Matrix. These volumes aim to provide both a critical overview of the films themselves and a cultural study of the social and psychological factors relating to the demand for screen violence. By doing so, Horsley raises a new dialogue between scholars and movie buffs to examine the need to portray and the need to watch violent films. |
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Page 145
... Scorsese , with Mean Streets , in 1973. Of all our blood poets , none have displayed quite such a thirst and an appetite for ectoplasm either , nor such a painterly eye for the aesthetic virtues of blood . His films are positively ...
... Scorsese , with Mean Streets , in 1973. Of all our blood poets , none have displayed quite such a thirst and an appetite for ectoplasm either , nor such a painterly eye for the aesthetic virtues of blood . His films are positively ...
Page 146
... Scorsese's characters generally only see despair , madness or horror in their mirrors says as much about ourselves , and the times and spaces we are living in , as it does about Scorsese and his personal obsessions . The movie screen is ...
... Scorsese's characters generally only see despair , madness or horror in their mirrors says as much about ourselves , and the times and spaces we are living in , as it does about Scorsese and his personal obsessions . The movie screen is ...
Page 151
... Scorsese and Paul Schrader ( who wrote the script and is not Catholic but Calvinist11 ) were at the time admirers of Dostoyevsky.12 Dostoyevsky , like Scorsese , was a deeply religious artist with a genuinely apocalyptic vision of ...
... Scorsese and Paul Schrader ( who wrote the script and is not Catholic but Calvinist11 ) were at the time admirers of Dostoyevsky.12 Dostoyevsky , like Scorsese , was a deeply religious artist with a genuinely apocalyptic vision of ...
Contents
Images into Consciousness 1963 and Beyond | 1 |
Auteur and Industry The Individual | 35 |
1971 The Year of the AntiHero | 87 |
Copyright | |
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