This paper focuses on how the phenomenon of violence arouses, excites and attracts the observer of ferocity, brutality and bloodshed in American film.
Ever since the introduction of television technology to American society, the "tube" – as many Americans call their TV sets colloquially – has become an elemental component of today’s living rooms in the United States. Being aware of this fact, the competition for viewers among broadcasters in the television industry is constantly increasing with viewing figures for each TV program being released in the press on a regular basis.
In order to boost their viewing figures, producers are always on the hunt for the ideal combination of various genres for their daily program, aiming to always satisfy the audience as a whole and yield the maximum amount of concurrent viewers.
Table of Contents
1. Introduction
2. Defining the term “violence”
2.1 Comic violence
2.2 Transgressive and retaliatory violence
2.3 Gratuitous violence
3. Facts about violence in film and television
4. Possible explanations for the insatiable excitement for violence on TV
5. HBO’s Deadwood: Facts and figures
6. Depictions of violence in the first episode of David Milch’s Deadwood
7. Conclusion
8. Works Cited
Research Objectives and Themes
The paper examines the phenomenon of the audience's fascination with violent imagery in contemporary American television, specifically analyzing how the representation of violence contributes to the success and reception of the series Deadwood. It explores whether the "insatiable excitement" for violence is driven by psychological, cultural, and narrative factors.
- Categorization of violence in media (comic, transgressive, retaliatory, gratuitous).
- Statistical prevalence of violent content in U.S. television versus real-world crime.
- Psychological explanations for viewer attraction, including the "Snuggle Theory" and the desire for retributive justice.
- Case study analysis of violence within the first episode of HBO's Deadwood.
- The link between punitive cultural values and the popularity of retributive violent narratives.
Excerpt from the Book
6. Depictions of violence in the first episode of David Milch’s Deadwood
One does not have to wait long until the first violence is represented during the pilot episode of Deadwood. The inmate Cell Watson, who is sentenced to death for stealing a horse, is watched over by Montana Territory marshal Seth Bullock when the alleged owner of the horse arrives at the prison. Accompanied by a furious and seemingly drunk mob, he urges Bullock to turn over Watson to him in order to punish him for his thievery. Instead of complying with the demands of the horse’s proprietor, Bullock decides to execute the death sentence himself because he feels that he as the responsible marshal is the only person with the right of carrying out the lawful punishment. Watson is put to death by hanging. The depiction of the hanging feels noticeably explicit, with the act itself being prolonged instead of being dealt with in a quick fashion. After asking Bullock to help him with his fall, the hanging is executed and accentuated with the cruel sound of a breaking neck. Then, instead of immediately switching over to the mob, the dangling body of Watson is shown for a couple of seconds up until to the point where his body is not moving anymore, emphasizing the explicitness of the depiction once more (“Deadwood” 01:40-07:40).
Summary of Chapters
1. Introduction: This chapter establishes the ubiquity of violence in American television and outlines the research intention to analyze its role in the success of the series Deadwood.
2. Defining the term “violence”: This section categorizes media violence into three primary types—comic, transgressive/retaliatory, and gratuitous—to provide a theoretical framework for analysis.
3. Facts about violence in film and television: This chapter contrasts the high frequency of violent acts on television with real-world crime statistics, arguing that media violence is not a realistic reflection of society.
4. Possible explanations for the insatiable excitement for violence on TV: This section investigates psychological and cultural reasons for viewer attraction to violence, including the necessity of fictional settings, the drive for retributive justice, and the "Snuggle Theory" of gender role reinforcement.
5. HBO’s Deadwood: Facts and figures: This chapter introduces the series, discussing its historical context, stylistic choices like profanity, and its critical reception.
6. Depictions of violence in the first episode of David Milch’s Deadwood: This section applies the previously discussed theoretical frameworks to specific scenes in the pilot episode, focusing on the hanging of Watson and the shooting of a customer.
7. Conclusion: The concluding chapter summarizes that the series' success is significantly bolstered by the use of retributive violence, which aligns with the cultural preferences of the American audience.
8. Works Cited: This section lists all academic and media sources utilized throughout the paper.
Keywords
Media violence, Deadwood, David Milch, American film, Retaliatory violence, Gratuitous violence, Television studies, Cultural studies, Retribution, Crime representation, Snuggle Theory, Viewer psychology, Transgressive violence, Narrative, Justice.
Frequently Asked Questions
What is the core subject of this study?
The study investigates why violence is such a pervasive and successful element in contemporary American film and television, focusing specifically on how it attracts and maintains audience engagement.
What are the central themes discussed in the paper?
The core themes include the categorization of media violence, the discrepancy between televised violence and real-world crime rates, the cultural appetite for vengeance, and the use of violence to reinforce gender roles.
What is the primary research goal?
The goal is to determine if the representation of violence, specifically retaliatory violence, serves as a substantial factor in the success and positive reception of the HBO series Deadwood.
Which scientific methodology is employed?
The author employs a qualitative media analysis, utilizing existing sociological and psychological theories of media consumption to examine specific narrative representations within a case study.
What does the main body of the paper cover?
The main body defines various types of violence, provides statistical context, explores psychological motivations for watching violent content, and analyzes the pilot episode of Deadwood as a practical example.
Which keywords best characterize this work?
Key terms include Media violence, Retaliatory violence, Retribution, Deadwood, David Milch, and Audience psychology.
How does the author explain the success of Deadwood?
The author argues that Deadwood succeeds because it features "retaliatory violence," which satisfies the American cultural desire for justice and retribution in an environment that otherwise lacks a formal legal structure.
What is the "Snuggle Theory" mentioned in the text?
The "Snuggle Theory" suggests that viewers, particularly men and women in heterosexual relationships, consume violent media to practice and reinforce traditional gender roles, with men displaying bravery and women showing vulnerability.
Why is the "fictional" nature of violence important to the audience?
The author concludes that violence is only perceived as "enjoyable" by viewers if they know it is entirely fictional; depictions of real-world suffering typically evoke discomfort and rejection.
- Citation du texte
- Anonym (Auteur), 2018, Violence in American Film. Forms of Representation and the Example of HBO's "Deadwood", Munich, GRIN Verlag, https://www.grin.com/document/1024895
