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This anthology examines a number of issues related to violence within the media landscape. Violence has been a topic of continued concern within American culture and society. Although there have been numerous sociological and historical studies of violence and its origins, there is relatively little systematic analysis of violence within media representation, even as this issue becomes preeminent within public discourse. This anthology examines a number of issues related to violence within the media landscape, using various methodologies to suggest the implications of the increasing obsession with violence for postmodern civilization.
Exploring the depiction of violence and related issues in Hollywood productions, this book focuses on the motivations and cultural politics of violence on the big screen, as well as its effects on viewers and society as a whole.
Why is there so much violence portrayed in the media? What meanings are attached to representations of violence in the media? Can media violence encourage violent behaviour and desensitize audiences to real violence? Does the 'everydayness' of media violence lead to the 'normalization' of violence in society? Violence and the Media is a lively and indispensable introduction to current thinking about media violence and its potential influence on audiences.Adopting a fresh perspective on the 'media effects' debate, Carter and Weaver engage with a host of pressing issues around violence in different media contexts - including news, film, television, pornography, advertising and cyberspace.The book offers a compelling argument that the daily repetition of media violence helps to normalize and legitimize the acts being portrayed. Most crucially, the influence of media violence needs to be understood in relation to the structural inequalities of everyday life. Using a wide range of examples of media violence primarily drawn from the American and British media to illustrate these points, Violence and the Media is a distinctive and revealing exploration of one of the most important and controversial subjects in cultural and media studies today.
Media representations of law and order are matters of keen public interest and have been the subject of intense debate amongst those with an interest in the media, crime and criminal justice. Despite being an increasingly high profile subject few publications address this subject head on. This book aims to meet this need by bringing together an important range of papers from leading researchers in the field, addressing issues of fictional, factual and hybrid representations in the media -the so called 'docu-dramas' and 'faction'.
In many senses, viewers have cut their teeth on the violence in American cinema: from Anthony Perkins slashing Janet Leigh in the most infamous of shower scenes; to the 1970s masterpieces of Martin Scorsese, Sam Peckinpah and Francis Ford Coppola; to our present-day undertakings in imagining global annihilations through terrorism, war, and alien grudges. Transfigurations brings our cultural obsession with film violence into a renewed dialogue with contemporary theory. Grønstad argues that the use of violence in Hollywood films should be understood semiotically rather than viewed realistically; Tranfigurations thus alters both our methodology of reading violence in films and the meanings we assign to them, depicting violence not as a self-contained incident, but as a convoluted network of our own cultural ideologies and beliefs.
American cinema has always been violent, and never more so than now: exploding heads, buses that blow up if they stop, racial attacks, and general mayhem. From slapstick's comic violence to film noir, from silent cinema to Tarantino, violence has been an integral part of America on screen. This new volume in a successful series analyzes violence, examining its nature, its effects, and its cinematic and social meaning.
The topic of violence in the media seems as inundated as can be. Countless studies and research projects have been conducted, mostly to show its negative effects on society. What Gwynneth Symonds proposes, though, takes this significant topic one step further: studying the aesthetics of media violence. By defining key terms like the 'graphic' nature and 'authenticity' of violent representations, and discussing how those definitions are linked to actual violence outside the film and television screen, Symonds broadens the arena of study. Engagingly written, The Aesthetics of Violence in Contemporary Media fills an important gap. Symonds uses existing studies for the empirical audience reception data, together with discussions of the different representations of violence to look at violence in the media as an art form in of itself. By looking at The Simpsons, Bowling for Columbine and Norma Khouri's Forbidden Love, just to name a few, Symonds cross-analyzes violence in multiple media to see their affective role in audience reception - an important aspect when discussing media. The book strikes a balance between the readers' need to see how theory matches what actually happens in the texts in question and the demands of a theoretical overview.
"From Jeremiad to Jihad is an ambitious volume. The selections here introduce new perspectives on the intersection of religious institutions and American culture. Whereas the subject of just war has largely been the provenance of religious and philosophical studies, with some input from international relations and political science, the authors of this volume have brought methods and questions from the study of history to bear on the discussion. Carlson and Ebel have pulled together a significant work that fosters new conversations between scholars interested in just war and American religious history." - John Kelsay, author of Arguing the Just War in Islam “Why is America, one of the world’s most religious societies, also one of the most violent? In a sophisticated, thoughtful and accessible manner, the essays in this collection provide an important examination of the complexities of American character that sees the sacred as sanctioning violence and allows violence to be sanctified.” - Mark Juergensmeyer, author of Terror in the Mind of God: The Global Rise of Religious Violence “This is a stunning collection of essays—the single most comprehensive and wide-ranging set yet prepared. With “jeremiad” and “jihad” as their guiding tropes, the contributors brilliantly trace the life of this rhetorical strain. This volume is ideally suited for courses in religion and history as well as anyone interested in the role of religious violence in American culture and life.” - Harry S. Stout, author of Upon the Altar of the Nation: A Moral History of the Civil War
A frequent complaint against contemporary American fiction is that too often it puts off readers in ways they find difficult to fathom. Books such as Bret Easton Ellis's American Psycho, Katherine Dunn's Geek Love, and Don DeLillo's Underworld seem determined to upset, disgust, or annoy their readers—or to disorient them by shunning traditional plot patterns and character development. Kathryn Hume calls such works "aggressive fiction." Why would authors risk alienating their readers—and why should readers persevere? Looking beyond the theory-based justifications that critics often provide for such fiction, Hume offers a commonsense guide for the average reader who wants to better understand and appreciate books that might otherwise seem difficult to enjoy. In her reliable and sympathetic guide, Hume considers roughly forty works of recent American fiction, including books by William Burroughs, Kathy Acker, Chuck Palahniuk, and Cormac McCarthy. Hume gathers "attacks" on the reader into categories based on narrative structure and content. Writers of some aggressive fictions may wish to frustrate easy interpretation or criticism. Others may try to induce certain responses in readers. Extreme content deployed as a tactic for distancing and alienating can actually produce a contradictory effect: for readers who learn to relax and go with the flow, the result may well be exhilaration rather than revulsion.
Extra-Ordinary Men analyzes popular cinematic representations of white heterosexual masculinity as the 'ordinary' form of male identity, one that enjoys considerable economic, social, political, and representational strength. Nicola Rehling argues that while this normative position affords white heterosexual masculinity ideological and political dominance, such 'ordinariness' also engenders the anxiety that it is a depthless, vacuous, and unstable identity. At a time when the neutrality of white heterosexual masculinity has been challenged by identity politics, this insightful volume offers lucid accounts of contemporary theoretical debates on masculinity in popular cinema, and explores the strategies deployed in popular films to reassert white heterosexual male hegemony through detailed readings of films as diverse as Fight Club, Boys Don't Cry, and The Matrix. Accessible to undergraduates, but also of interest to film scholars, the book makes a distinctive contribution to our understanding of the ways in which popular film helps construct and maintain many unexamined assumptions about masculinity, gender, race, and sexuality.