Advanced Essay #4: What can violent films tell us about our obsession with violence?

​This paper was my attempt to mix an analysis of this unit's topic and an analysis of war films. I used a lot that we learned from The Things They Carried and also some of my own research and conjecture. In putting the two ideas together, I came to the conclusion found at the end of the paper, but the process of writing the paper was the process of reaching the conclusion, not just explaining it. I found myself putting the ideas forth and then only connecting them at the end. I would like to do more research into the underlying psychology behind violent films, and in general how we react to role models (actors) doing something (violence). This could be imprinting, or it could be the tribal nature of humans, but I'd like to learn more about the psychology of violent films.

One of the hardest genres in film to get right is the war film. In an attempt to analyze film, one comes across this very tricky genre time and time again, and how hard it is to make a good war film. This may arise from the natural intricacies of telling a war story, and even the complicated nature of violence itself. I myself am interested in finding out how to make a good war film, and how this can apply to society’s greater, more general obsession with violence.

Storytelling is a constant battle to keep people engaged. A good storyteller will use all the tools in their tool belt to accomplish this goal: reveals, flashy visuals or details, twists, etc. Books, films, even songs use these same ideas and tools. In making a war film, the audience, we can assume, is already interested in the subject matter (and perversely so I might add). Years of western culture and civilization have trained them to love Hollywood shoot-em-up blockbusters and gory, violent video games. The fact that a war film can keep people entertained with its gore and violence is something addressed in two quotes from an interview with Tim O'Brien, the author of The Things They Carried, a prime example of a good war story. The two quotes (quotes two and three on this document) both suggest a different way of keeping the audience entertained: one way being a violent perverse attraction to violence and war and guns and bombs and death, the other being the immediate urgency that a war story and its consequential mortality brings to other morals, like love, relationships, and fairness.

Take, for example, the scene in Saving Private Ryan where the old veteran tears up at the grave, and then falls to his knees, bringing his family running. The shot shows an old veteran kneeling at a white cross tombstone, one of many that look the same in a graveyard of soldiers. The veteran kneels at the right of the frame, looking at the tombstone at the center of the frame. The tombstone splits the frame in half, separating the veteran from his family standing off in the distance. They are all dressed similarly, and so is the veteran, but their attention is (naturally) directed all over the place, some towards the veteran, some aimless, some amongst each other. The tombstone, while one of many just like it, is particular to this man, and keeps him separated visually from his family, as if they could never experience the things he has experienced, and so they can never truly connect with him. As the veteran falls down, the family runs up to him. The urgency of this experience is amplified by the family's own urgency, but is already engaging because of our subconscious awareness of mortality in this war story. The rest of the film may be engaging for that reason too, and also because of our "pornographic" infatuation with violence and war, but this specific scene just goes to show how themes can be amplified and morals can be engaged with when faced with the blatant mortality of war.

Many war stories attempt to cover different perspectives. Quote number eight from the O’Brien interview explains more about this. The Things They Carried covers only the perspectives of the soldiers, and while all of the different stories may extend the perspectives, they're still a perspective heard from another perspective; a story within a story. The book only covers one perspective. When the soldiers confront the corpse of a Viet Cong soldier, they are in fact confronting another perspective. The story does not extend past what the soldiers (in fact what O'Brien) saw of this new perspective. A good war story should, therefore, not extend to unknown perspectives, but just analyze them from the known perspective. It is like looking into another house from your own house. You cannot see what your window does not reveal.

The question to answer is this: what can violent films tell us about our obsession with violence? The answer itself is simple, although arriving to this conclusion might be a little more complicated. The reaction to and popularity of violent films are the most measurable insight into violence that those films can give us. Of the top ten all time highest grossing films (according to this list on the-numbers.com), eight of them featured violence. Of the infinite number of topics and plots to be covered in a film, violence is not featured in so many of them, and yet the most popular films usually feature violence, if not center around it completely. It should be an evident insight into the human psyche to see that our most popular films are those that glorify, romanticize, and practically endorse violence. If we see our favorite actor beating the crap out of some dude, aren’t we going to do the same? It’s the simple psychology of following a role model, and if the movies you see everyday promote violence, how can you not practice it?

We have a “pornographic” interest in violence, which extends to an obsession. While war films are feats of storytelling, and enhance the story being told, they definitely end up promoting violence. War films are an insight into our obsession with violence, because violence enhances morals, and makes our mortality come to the surface, making everything else more real. We love seeing more violent films because we’re obsessed with violence and the way it affects storytelling. This ends up endorsing violence, and making it both more accepted as well as more practiced by society. Violent films show us that our obsession with violence stems from its effect on storytelling, and that this promotes violence in our society.

Works Cited

"All Time Highest Grossing Movies Worldwide." The Numbers. Nash Information Services, LLC, n.d. Web. 18 Mar. 2016. <http://www.the-numbers.com/movie/records/All-Time-Worldwide-Box-Office>.

Interview with Tim O’Brien

O'Brien, Tim. The Things They Carried: A Work of Fiction. New York: Broadway, 1998. Print.