Essay on Violence in Cinema

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The representation of violence exacted upon women in cinema is inextricable from being projected upon all women. To provide a scene that objectifies the female is to reduce the feminine form to its non-dual state, e.g., a sexual object providing a vessel for male gratification (hubris and sexual) rather then being defined by its duality of sentient and physical forms. Those who construct scenes of violence against women are bound to a moral responsibility to subjectify the woman’s perspective, thus reestablishing the female as a victim rather then an object and rendering the act of violence intelligible (deplorable, open to interpretation).
     The cast of Quentin Tarantino’s Kill Bill Volume 1 is predominantly
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     As I consider these representations of violence from a male perspective, I experienced the most drastic male-female perspective shift from Alien. Sigourney Weaver’s character is objectified to instill the notion of her being as a sexual creature. Thus when the hideous creature takes her by surprise, the viewer is transported into a perspective which views the violent threat through the perspective of a sexual object. I believe this is how females view sexual perpetrators, as something foreign, monstrous, and alien.
The use of Narrative & Cinematography in the first scene of Natural Born Killers act as vehicles to convey character background and social commentary. As a mockery of sensationalism in the news media and the glorification of violence in entertainment, the opening scene is significantly accomplished. To establish a sense of ludicrousness with regard to the integration of malicious action, Oliver Stone introduces the use of black & white cut scenes with symbolic intent. In my opinion, these are meant to place the viewer into the minds of Mickey and Mallory (a satire of Mickey & Minnie?), who clearly do not internalize responsibility for the pain they cause others. As the bullet fired at the female cook and the knife thrown at the man outside of the diner are seen in slow motion black & white cut

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