Violence in film

issue of film violence through examining common theories as well as data-oriented
studies. By exploring the idea of violence as an aesthetic choice in filmmaking we try to
assess whether it can be beneficial to cinema and the audience. To understand why the
debate in question is even there, filmic violence has to be first put in historical context.
2. Historical Background
The issue of film violence can be traced back as far as 1927 when the head of Motion
Picture Producers and Distributors of America (MPPDA) issues the so called “Don’ts and
Be Carefuls”. The rules written down in this document were meant to prohibit and regulate
subjects such as profanity, nudity or even satire of clergy. They were one of the first forms
of American film censorship and surprisingly did not regulate violence in any shape or
form. It wasn’t until the 1930’s when violence started being associated with above
mentioned topics and was restricted by the successor of “Don’ts and Be Careful”,
document known as the Production Code. Throughout the whole life-span of the ‘Code’
filmmakers would either not subscribe to its restrictive philosophy or develop rhetoric and
visual evasions. In result, screen regulation gave filmmakers an “articulate and expressive
way of handling problematic instances of screen violence” (Prince, 2003, p. 250). Year
1968 marks as the complete abolishment of the Production Code by the Code and Rating
Administration (CARA). It was at that time that people were finally enabled to produce of
an adult market with films like Bullitt (1968) or Taxi Driver (1975). It inevitably led to an
increased amount of screen violence but not only. Slowly, audiences would praise film
violence for being hypnotic, fascinating, thrilling. Suddenly filmic violence could not only be
used in a smart, poetic way but also unjustifiably indulgent too (Prince, 2003, p. 255). It
was only a matter of time until scientists, psychologists and filmmakers would start a
dispute about the theoretical...

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