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Violence & Film with Prof Karla Oeler

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Violence & Film with Prof Karla Oeler

In this module we explore how violence is represented in films in terms of character and narrative and we consider how violence is reported in the news, specifically discussing desensitization.

We are so pleased to have you join us as we investigate this crucial topic. Violence is a leading cause of death, disability and health care use worldwide. Violence is a complex problem and can only be understood and reduced though a multidisciplinary approach. This course introduces you to experts who study different forms of violence and we will discuss the various causes of violence. You will also learn about efforts to reduce violence and engage in a day of compassion. We are very fortunate that PRESIDENT JIMMY CARTER is participating in our course. He delivers a lecture on the efforts of the Carter Center to end violence around the world, and he engages in a discussion with us about his life and work in human rights. Do join us for short videos, readings and discussions. And also see our coffee chats, where we (Pamela and Deb) summarize and reflect on each module. And we want to hear from you! Feel free to reach out via Twitter or through the course, or through our Facebook Page: https://www.facebook.com/groups/understandingviolence01/.

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教學方

Deb Houry, MD, MPH
Associate Professor
Pamela Scully, Ph.D.
Professor

腳本

This program is brought to you by Emory University.

>> Hi, my name is Karla Oeler, and I'm an associate professor in the department of

Film and Media Studies at Emory University, and

I'm also core faculty in the department of comparative literature, and I am

the author of a book called' A Grammar of Murder: Violent Scenes in the reform and

I'll be talking today about violence in the media.

So, we can approach the question of violence in the media in several ways.

One is to conduct experiment with human subjects to determine whether

watching simulated violence or

playing violent video games results in an increase in violent behavior.

An instance of this first approach is behavioral psychologist Bandura's

1963 Bobo Doll experiment.

He divided 48 girls and 48 boys ages three to six into four groups.

One of which was a control group.

Of the three experimental groups, one watched an adult in person verbally and

physically abuse the Bobo doll.

One watched a film version of this abuse, and

one watched a cartoon of a cat attacking the Bobo doll.

Afterwards, the children were placed in a room with toys that included the doll.

Researchers observed their interaction with it, and found that the groups that

witnessed the violent behavior in real life, and on screen as live action and

animation, were almost twice as aggressive as the control group.

These results led some to conclude that the observation of

violent media can cause children to learn violent behavior.

More recent studies have incorporated video games.

A February 11th, 2013 New York Times article by Benedict Carey for instance

reported that new research suggest that playing violent games quote can and does

stir hostile urges and mildly aggressive behavior in the short term end quote.

But he cautions that it's not proven that a gaming habit increases

the likelihood that a person will commit a violent crime.

And he notes that, quote,

the proliferation of violent video games has not coincided with

statistical spikes in violent crime, end quote, among young adults.

These behavioral approaches emphasize contemporary media and children or

people who are still developing socially, and they seem obviously useful.

If we can prove that violence in media causes violent behavior,

then we can make a case for censorship controls.

In contrast to the behavioral approach, a historical account acknowledges

the long-standing centrality of violence to the stories we tell through literature,

art, film, television, et cetera, and this approach

asks not whether mediated representations of violence cause violent behavior.

But instead considers what the narrative paradigms informs through which

violent scenes appear tell us about the world that produced them.

An understanding of the techniques of representation complement such

an approach, with the knowledge of the history and

forms of violent scenes in various media.

We can establish parameters, and detect trends.

This historical and formal approach can tell us about how censorship works,

whether it's effective, and how film form responds to, and works around it.

It is the focus of this particular series of lectures.

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