At the movies with Buss and Durkee: A natural experiment on film violence

Research on the effects of violence depicted in films shown in movie theatres has been neglected, although there are reasons to believe such presentations may be particularly salient for the viewer. In the present study, adult movie-goers attending commercial showings of a violent or non-violent movie responded to a questionnaire consisting of two scales of the Buss-Durkee aggression inventory, either before or after viewing the film. No sex differences in response were observed. The audience attending the violent film had significantly higher aggression scores than the audience attending the nonviolent film, both before and after viewing. Also, those attending the violent film showed a significant increase in aggression scores, while those at the non-violent film did not. The results demonstrate that audiences who attend violent films have an initially higher level of aggressivity which is heightened after exposure to the violent film. Thus, in order to achieve ecological validity in research on film violence, the characteristics of the audience normally exposed to such films must be taken into consideration. The results also provide support for the hypothesis that attendance at a violent film promotes aggressive tendencies.     

Differential reactions of men and women to realism,physical damage,and emotionality in violent films

Community college students rated brief segments of violence from films selected to represent a variety of approaches to the depiction of violence. Men and women differed substantially on these sequences, men seeing them as more enjoyable, amusing, realistic, and emotional. Men also showed less inclination to restrict showing of such sequences to children, on television, or by X-rating. While no sex differences appeared in ratings of suffering or overall appraisals of violence, women' enjoyment ratings declined precipitously for the films rated as depicting more suffering, while those of men did not. However, both men and women saw more violence in sequences emphasizing suffering of characters, even when this ran counter to actual physical damage depicted. For men, enjoyment of these violent media excerpts and self-reports of recent physical violence were essentially unrelated, while women showed highly significant positive relations for the two variables. These findings suggest that the dynamics of violence for men and women may be different enough to make differential analysis by sex an especially productive research tactic.     

Groundhog day: The individual,the couple,the group and the space between

Abstract

The film Groundhog Day first came out in 1993. Five years later, it is still cited in a variety of contexts. The author proposes that this is because the film is a cultural artefact which both elucidates and frustrates the ideal of romantic love in the couple as the agent of internal change.

The author also proposes a re-viewing of the meaning of the concept of couple. The convergence of object relations theories with group analysis suggests that the mind works by repeating and externalizing internal group structures in social relationships. The couple, then, becomes an intermediary structure between the individual and the group where intimacy facilitates a re-working of group internal structures. It is the collapsing and the opening of the ‘space between’ which is the agent of change. This process creates strength, power and a feeling of wholeness. But it also implies the expression of anger, pain and disappointment. The author illustrates these points with an interpretation of the Groundhog Day film and with a clinical case study of a couple in therapy.     

Subverting patriarchal Buddhism in Spring,Summer, Fall,Winter…and Spring

A number of Kim Ki-duk’s films, particularly Bad Guy (2001), are infamous for the violence towards women characters. While feminist critics deplore Kim as a misogynist, alternative readings – some based on interviews with the director – suggest violence is the only way his silent characters, existing on the margins of society, can communicate. In this way, his body of work is not read as an endorsement of misogyny, but rather as a social critique of patriarchy. One film, however, that is considered unique and eludes these discussions is Spring, Sumer, Fall, Winter…and Spring (2003), a contemplative Buddhist story. I argue, in fact, the film is in dialogue with patriarchal Buddhist portrayals of women as temptresses and samsaric mothers. Further, since it appears the monks in the narrative are incapable of enlightenment, we should question if this is a result of their treatment of women.     

Modelling of dissolution kinetics of thin amorphous chalcogenide films

A theoretical relationship for the dissolution kinetics of thin chalcogenide films is proposed. The influence of light irradiation on the film dissolution is taken into account. The theoretical curves are in good agreement with the experimental dissolution results obtained for As₂S₃ thin amorphous films.     

On the length scale of cyclic strain localization in fine-grained copper films

Fine-grained copper films on a flexible substrate were cyclically deformed under constant strain range control. It was found that cyclic dislocation plasticity through individual dislocation glide is still dominant at the submicrometer scale, while the ability of irreversible slip of dislocations gradually decreases and the damage was changed from extrusion-induced localization to cracking along grain boundary. Statistical evaluation of the mean spacing between slip bands and/or lines leads to a critical scale (～28 nm) below which dislocation-controlled cyclic strain localization would be shut down.     

The Geometry of Gendered Conflict in Popular Film: 1986–2000

In this qualitative content analysis of 150 popular films, the meaning of gendered conflict in contemporary popular culture is addressed from a systems theoretical perspective. Gendered conflict occupies a central position in these films and is normatively structured in terms of networks of romantic/sexual conflict based upon the geometric foundation of the triangle. Triangles are found to invoke dualistic pairs of stereotypes among characters who are competing for the attention of a common focus of attraction. When men occupy the center of triangles, dualism involves the Madonna/Whore archetype. When women occupy the center, dualism alternates between Hero/Villain and Prince/Scoundrel archetypes. Norms, values, and expectations regarding gendered conflict are found to foster male privilege in each archetype.     

Vantage perspective in analogue trauma memories: an experimental study

Vantage perspective during recall is thought to affect the emotionality and accessibility of distressing memories. This study aimed to test the effects of vantage perspective during recall on memory associated distress and intrusion development. An adapted version of the trauma film paradigm was used in an experimental design with three conditions. Participants were asked to listen to eyewitness reports of car accidents (e.g. Trauma Analogue Induction) and imagine the scenes vividly using mental imagery. Afterwards, they were asked to recall the most distressing scene from field perspective, observer perspective, or to recall a neutral image from observer perspective (control condition) (e.g. Trauma Analogue Recall). Recall from field perspective resulted in higher negative mood, state-anxiety, and a higher number of short-term intrusions compared to the observer perspective condition and control condition. Negative mood and state-anxiety were mediators in the relationship between vantage perspective and intrusions. In comparison to observer perspective, field perspective increased the amount of short-term intrusions as a result of higher levels of negative mood and state-anxiety after memory retrieval. Future research on the interaction between vantage perspective at recall and negative mood and anxiety effects is warranted.     

A Post-9/11 <Emphasis Type="Italic">Passion</Emphasis>: Review of Mel Gibson’s <Emphasis Type="Italic">The Passion of the Christ</Emphasis>

Gibsons film extends a long tradition of Euro-American passion plays and martyr dramas, related also to the ritual sacrifice of god-actors in other cultures. Yet, the extreme violence of this popular religious movie involves the devotional dangers of cinematic sadomasochism and melodramatic paranoia, with Jews, Romans, and devils as villainous stereotypes–as well as the potential value of tragic catharsis–on a vast scale for todays mass-media audience, especially in the post-9/11 context.Mark Pizzato is Associate Professor of Theatre at the University of North Carolina at Charlotte. His publications include Edges of Loss: From Modern Drama to Postmodern Theory (Michigan, 1998) and Theatres of Human Sacrifice: From Ancient Ritual to Screen Violence (SUNY, 2004).     

Religion and Science in America: Populism versus Elitism

Historian James Gilbert argues that the dialogue between science and religion is an important dynamic in the creation of contemporary American culture. He traces the dialogue not only in the confines of the academic world but also in popular culture. The science-religion dialogue reveals a basic tension between the material and the spiritual that helps define the core of the American psyche: fascination with material progress yet commitment to traditional religious beliefs. Gilbert's cultural narrative traces the dialogue in a unique way because of the attention given to popular renditions of science and religion in evangelical films used by the military, in televised science programs, in science-fiction literature, and at the Seattle World's Fair in 1962. Gilbert suggests that the discussion between science and religion is significant because it is part of the process of creating new cultural structures necessitated by social, scientific, and technological developments. The tensions between religiously informed commonsense science and professional science work to create new cultural forms in a democratic society. Religion and science in dialogue are part of the process of cultural creation. Dogmatism on the part of either scientists or religionists is countered by the democratic process itself.