Cinematic Violence

In place of an analysis of The Untold Story, I will be assessing the other eight films from this term regarding of their aestheticization of violence and degree of excessiveness. In a statement before the National Commission on the Cause and Prevention of Violence, MPAA President Jack Valenti expressed his belief that "the screen must be free if it is going to flourish" (Valenti 63). Valenti advocated for a relaxing in codes regarding cinematic violence, explaining that it should be in the hands of the filmmaker to determine whether their portrayals are honest or "excessive and overweighted with violence" (Valenti 63). In "Graphic Violence in the Cinema: Origins, Aesthetic Design, and Social Effects," Stephen Prince asserts that "in significant ways, the aesthetic contract that the filmmaker must honor with viewers entails that screen violence be made to offer sensory pleasures"(Prince 17). Thus, films lie in a precarious balance between maintaining a low level of excessiveness while preserving the sensory pleasures owed to spectators.

The Texas Chain Saw Massacre:

Excessiveness Rating: 7/10

While this film may have been more excessive, and subsequently more repulsive, closer to its release, there are still many indications of excess in its fabric. The film tortures its female characters significantly more than the male characters, contains excessive imagery (human face mask, arm chair made with human arms), and has implications of cannibalism and incest.

Visual Pleasure Rating: 8/10

This film is quite pleasurable to watch as the imagery is engaging, there are many novel plot points (slitting open one's own palm, grandma and grandpa in the attic), and ultimately the final girl is able to escape the horrible place.

Nosferatu:

Excessiveness Rating: 6/10

A lot of the horror that takes place in Nosferatu is implied versus seen, which decreases its excessiveness rating. There is, however, a great deal of excessiveness in queer characters, and from his physical presentation to vampirism, Nosferatu tips the scale above average for his excessiveness. In addition, since the film is silent, the acting is more excessive to indicate certain emotions that would be less articulated through everyday body language.

Visual Pleasure Rating: 4/10

The film moved relatively slowly, and we were not shown much of what would have made the film more titillating and pleasurable. I found certain scenes visually pleasurable, but all in all, I wanted to fall asleep for a good chunk of the runtime.

The Babadook:

Excessiveness Rating: 8/10

The Babadook is extremely excessive. Since most excessive emotions are expressed through female figures, and the female protagonist inThe Babadook is in mourning AND the monster is an embodiment of her grief, this film is the epitome of excess. They also kill a dog, which Alison Guenther-Pal said was the reason she could not finish the film. Killing animals (particularly domesticated pets), for many people, is deemed even more excessive than the killing of humans.

Visual Pleasure Rating: 7/10

The Babadook was visually pleasurable, with a very aestheticized color palate, and had interesting mis-en-scene (e.g., the threatening picture book). I would argue that the monster could have been a more complex embodiment of female grief, and that I left the film more confused than satisfied. To date, I do not understand why she feeds the monster and keeps it in the basement as a pet. Perhaps to replace Fifi? lol.

Ganja and Hess:

Excessiveness Rating: 7/10

Ganja and Hess contained a good deal of excessive imagery. However, while the victimized characters and their copious amounts of bright red blood are excessive, the female protagonist of the film is not. Her responses are often calculated and measured. She barely mourns the loss of her husband before rebounding to the man feasting off of his body.

Visual Pleasure Rating: 9/10

Ganja and Hess is extremely visually pleasurable. The circular mode of storytelling (alternating from present day America and presumably ancient Africa) is poetic and the colorful mis-en-scene, as Marie Kondo would say, "sparks joy." The film is, as I explain in my blog post, an interesting take on the "twoness" of the African American psyche, and does a fantiastic job of expressing this duality through it's two protagonists.

The Shining:

Excessiveness Rating: 8/10

The Shining is best known for its excessiveness. This film has everything--full frontal nudity, a petrified screaming woman, creepy kids, and an elevator's worth of blood! Not to mention the excess ascribed to alcoholism!

Visual Pleasure Rating: 8/10

The Shining is very visually pleasurable. The cinematography is iconic, with slow reveals and hidden meanings--such as the bathroom scene with the ex-caretaker alternating the position of the two men, implying that they are one and the same. The final girl(s) of this film also escape the horror, making the ending generally satisfying.

Creature from the Black Lagoon:

Excessiveness Rating: 4/10

Creature from the Black Lagoon was not extremely excessive, likely on account of the time period and intended audiences, as well as production-related restrictions. The most excessive part of Creature from the Black Lagoon was the horrified reactions from the indigenous people along with Kay's screaming during the climax (lol). I will give it a 4 for excessiveness, as I would argue that the masculinity in the film was excessive, and the monster's feminine nature also makes him excessive.

Visual Pleasure Rating: 6/10

Kay's twelve outfit changes were visually pleasurable, and her swimming scene with the monster was visually pleasing. In addition, the underwater film technology was pretty cool, as almost half of the film was shot underwater. The film was pretty beautiful despite some slower moments.

Hereditary:

Excessiveness Rating: 8/10

Hereditary is very excessive. The film depicts a deceased child in a blood chilling state of decomposer, a mother paralyzed with fear and sadness, full frontal nudity, decapitation, immolation and more.

Visual Pleasure Rating: 7/10

Hereditary is visually pleasing, with many Easter eggs for keen viewers. While the film is somewhat mundane and a bit confusing at times, the final scene makes up for it by connecting all of the loose ends. The main driving force for the visual pleasure rating is the final scene. I love it so much.

I Spit on Your Grave:

Excessiveness Rating: 9/10

I Spit on Your Grave is extremely excessive with almost half an hour of graphic rape and beating, images of vaginal/anal bleeding, and extreme sexualization of the female protagonist. The only reason that the excessiveness rating is not 10/10 is because the revenge scenes were much shorter and far less graphic.

Visual Pleasure Rating: 7/10

The driving factor for this rating is not my subjective opinion, but rather an understanding of the film's spectatorship from the literature. As Chelsea articulated very eloquently in her blog post, the film encourages the spectator to rape Jennifer with the men onscreen, with almost half an hour of this violence. Then, when Jennifer takes her revenge, it is sexualized. This revenge merely appeases the viewer as they no longer feel guilty for partaking in her rape, and are still able to sexualize Jennifer until the credits roll. Thus, I Spit on Your Grave has an above average visual pleasure rating.

Based on these ratings, we do see a correlation between excessiveness and visual pleasure. Thus, the problem still stands for filmmakers, in moderating excess while also providing a pleasurable experience for their spectators. Thank you guys for making this my favorite at-distance class! I hope everybody isn't too traumatized. Have a great summer!