Violence on Film Essay -- Film Review, Hollywood, Gunfigther

The horse opera stands as one of the great writing styles of Hollywood cinema, as it possesses the ability to kick the bucket both time and subject matter. Accordingly, the types of themes which this genres addresses, such as romanticism, and Ameri lavatory heroism, arsehole still be seen as viable commodities within modern-day storytelling. However, plot of land The Western has focused on various topics throughout its cinematic history, what ultimately serves as the primary critique of the genre, is the exploration of role of violence and belligerence within society (Lusted 16). Furthermore, at the source of this examination is the Gunfighter Western, which centers the focus of the genre to a more individualized and intimate perspective. Accordingly, picture palaces such as atomic number 1 Kings The Gunfighter (1950) and David Cronanbergs A History Of Violence (2004) can be observed as examples of this focus. However, while both King and Cronenberg success affluenty explor e the concepts of violence and aggression within their time periods, when examined in hurt of their overall trenchantness in exploring the necessity, and ambiguity of these themes, Cronenbergs willingness to explore the happening of redemption, is what ultimately makes A History of Violence a more effective and provocative exposure. As Lusted notes, the Gunfighter Western was one of the first of the genre to be interested in the process of change (Lusted 210). Instead of focusing on such themes as the collective effort of westward expansion, like more of John Fords Westerns (Schatz 70-71), the Gunfighter turns the genre and its hero inside out, (Schatz 71) and takes a more introspective look at how violence can be found at the core of social order. To do this, the focus shifts absent from films that play on the ... ...oral world. Instead, by allowing the character to live, Cronenberg not only suggests that on that points moral grounding within the use of violence, particular ly in terms of its supposed protection towards the progression of society, but also provokes the question, middling who are we rooting for in this film? (Beaty 87). Not only does the film force the audience to think about the effects of violence, but questions whether we as an audience, like Toms family, can accept violence as an ambiguous method of social order. Ultimately, its because of this complex, evocative nature, and the fact that the film questions not only the worship of the characters, but the audience itself, instead of enforcing morality on its audience like in The Gunfighter, that the film succeeds in demonstrating the full specter of violence and aggression, both on screen and in society.