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Western Carolinian (Volume 69 Number 04)

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Item 1 - Western Carolinian (Volume 69 Number 04)
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Western Carolinian (Volume 69 Number 04)

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Western Carolinian (Volume 69 Number 04)

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Western Carolinian (Volume 69 Number 04)

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Western Carolinian (Volume 69 Number 04)

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Western Carolinian (Volume 69 Number 04)

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  • WC newsmagazine Violence is brutally honest by Traci White I WCnewsmagazine If someone handed me a katana right now, I'd snag myself a yellow suit a la Beatrix Kiddo and have my revenge. Labor Day weekend of 2004 will forever be - remembered as Tarantino and Associates Weekend. Kill Bill Vol. 1, Kill Bill Vol. 2, Reservoir Dogs, Pulp Fiction, The Boondock Saints, and Lock, Stock, and Two Smoking Barrels all came on TV within the course of 48 hours. | couldn't help but grimace at the profuse amounts of blood coveri ng the celluloid and jug the urge to grasp at my own limbs while characters on the screen were having theirs severed. Now more than any preceding cinematic era, violence has become an artistic motifa rhetorical device. What has made gruesomeness so commonplace? The earlier years of cinema were either incapable of or unconcerned with convincingly violent scenes. Horror movies with elaborately ghoulish costumes were the _ extent of anxiety in the fledgling films of Hollywood, featuring either a dastardly fiend who tied wide-eyed damsels to train tracks or individuals with popular Halloween costumes tossing these damsels (distressed, no doubt) over their shoulders. During the decades of black and white film, Alfred Hitchcock was synonymous with nail-biting terror. Hershey's syrup, broad shots isolating the frightened protagonist and the sinister presence of shadows defined this directors auteur. Yet even this man, whose name still means horror to many, rarely indulged in gratuitously violent scenes, a temperance practiced by his colleagues even more fastidiously. As technology has improved, the degree of brutality on screen has followed suit. With the advent of Technicolor, the impact of a bloodied character seemed to increase ten fold. | feel this arguably disturbing trend begs the question: has cinema become more violent thanks to desensitization of its audience or because the industry has gotten its hands on more convincing fake blood and computer-generated murders? There is a visceral appeal and earnestness to violence that cannot be recreated by the most impassioned dialogue. It conveys physical prowess and control, and hopes to inspire admiration. We have grown up taking violence in stride, surrounded by it on all sides. We have gotten to the point where it can be analyzed for its virtues and described as artful. Yet grace and awkwardness are simultaneous in it; it sweats, drools, writhes on the ground completely stripped of dignity. It bleeds. Violence is courageous in a way that most of us will never show as it determinedly tries to get back on its feet. It is both inhumane and consummately human. It is unbridled passion, yet it still has the capacity to respect its opponent. Violence gets to you. It is non-discriminating and the ultimate equalizer. Violence as a human instinct may be contested, but the recurrence of it throughout history cannot be ignored. Since Cro-Magnon hominids dragged themselves around the earth, an animalistic urge to negotiate via combat has existed. Each historical era has its own so-called noble warrior: the dignified samurai, the swift archer and the motivated foot soldier. In the modern paradigm, civilizations on the whole have moved away from the feuding dynasties and city states, yet violence has not abated. Crime seems to set a new standard of ruthlessness for itself everyday, both in scale and inhumanity. My generation has grown up with sound bites announcing the fame of viruses, con men, spies, serial killers, terrorists, natural disasters and political coups. Thanks to the all- inclusive arm of the media, we have a constant stream of disasters screaming in our ears and shoved in our faces. With violence having established itself as a regular in the white noise sitcom of our lives, it has begun to take on a persona all its own. We baby boomers babies are jaded by what we have seen in our youth; we are smirking, witheringly clever. Mean is the new black. Yet no matter how jaded we believe ourselves to be, the superiority of violence still looms over In remembrance of the tragic events of September Eleventh COMMENTARY
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Western Carolina University Publications

The Western Carolinian is Western Carolina University’s student-run newspaper. The paper was published as the Cullowhee Yodel from 1924 to 1931 before changing its name to The Western Carolin...

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