Ultraviolent Movies: From Sam Peckinpah to Quentin Tarantino

Customer Reviews:

A big waste of time.......2003-08-31

The author summarizes the plots of about a dozen violent movies, then he summarizes the critics' reaction to those movies. That's about it. The interview with Oliver Stone is pointless. If you want to read a really good book on this subject, try The Blood Poets by Jake Horsley.

A must have for the action movie fanatic.......2003-06-29

A lot can be said for this book, but I'll try to keep it short.

First, the cons. This book can be a bit dry. It takes a genre (i.e. Law and Order for police movies), then it will choose several films from this genre and discuss what the movie was about, why critics either hated it or liked it. Some movies even get a section on any particularly famous, gory scenes within. Another thing that I didn't particularly care for was that it included several horror films that weren't particularly violent. Psycho, which has a relatively low body count when compared with Friday the 13th, etc. Of course, Psycho was included because it was directed by the master Alfred Hitchcock, but doesn't seem ultra-violent.

The best thing about this book is that it shows how violence has progressed in movies, starting with Bonnie and Clyde, all the way through RoboCop (one of the bloodiest action movies ever made in my opinion). Many well known movies are discussed (Dirty Harry, Clockwork Orange), as well as some smaller, lesser-known movies (Walking Tall).

The pros far outwiegh the cons. For any one who lies their movies full of Desert Eagle handguns, this book is for you.

Violence in film... almost there, perhaps next try........2003-03-12

Violence has been an integral part of art in all its forms ever since man invented art. It has been, and probably always will be, a part of life, no matter how civilized we become. Civilization itself is not only created and molded by violence, but sustained, perpetuated, and developed by its application or the threat of it.

Violence is disturbing but it can also be cathartic, and art presents both of these in an unsettling synthesis that is bound to get as many people upset as it will get to delight in it. Going back to Sumerian myths, Greek tragedies, Chinese folk tales, Elizabethan drama, and more recent literary examples reveals a long and cherished tradition of reveling in violent excess to the great entertainment of audiences as varied as one can imagine. Pictorial art tries to outdo the written word with cruel displays of bloodletting, and even when ostensibly depicting religious events the artists tend to go for the shocking, sensational, and sublimely disturbing.

It is little wonder then that films, just another art form, would seize on this long tradition, integrate it into its own canons, and fully participate in it, expanding it and adapting it according to the requirements and possibilities of the medium.

Films that depict violence have always been subject to the ferocious attacks from various corners, depending on what the movie portrays. What do the film-makers do or say in their defense? This is the subject matter of Bouzereau's book. It is not as much about what violence is, what role it plays in society, and how it is reflected in the arts, as it is about the various responses to its presence in films. The author traces how critics, the public, the law, the industry, and finally, the directors themselves view the presence of violence in these films.

The book is divided into eight chapters that cover everything from the films of Sam Peckinpah to those of Clive Barker. While the book does not dwell on horror films apart from some brief look at slasher, fantasy, and zombie movies, it does present a rather extensive catalogue of the most famous violent movies made in the U.S. This should be made quite clear: the book is only about American films despite featuring a Belgian B&W feature and making references to reactions in Britain and France to some of the films in the study.

This is a shortcoming, and a very serious one, because it deprives us of the comparative look at violent films that might shed some light on the role of violence in life and art, and thereby provide a much better justification for its use in films. Some cultures are even more tolerant to violence than America (e.g. Japan) and their arts inevitably reflect that as well. Omitting serious cinema from around the world handicaps the argument by forcing a distinctly American frame of reference on a globally shared phenomenon.

Ultimately, the book does not offer much insight. It is really a collection of film synopses, woven around anecdotes, interviews with directors, and cursory look at the controversies surrounding some of the films. Even this becomes fragmented in the second part of the book, with the chapters getting shorter, as if the author was in a hurry writing them, and the discussion being less and less attentive to the social implications of the subject matter. By the end of the book, the author simply recites brief summaries of the films and sometimes does not even include much of the reaction to them at all.

It is as if The Wild Bunch, Clockwork Orange, and Natural Born Killers are somehow worthier than Night of the Living Dead, Scream, or Man Bites Dog. Again, the ugly and entirely artificial distinction between art haute and the low-brow, low-budget horror flick rears its ugly head. Even in this marginalized genre hierarchy is imposed by critics who seek to redeem the images of death by uncovering some social commentary in the films.

The premise, however, appears flawed to me. It assumes that these films are in need of defending. Indeed, the book (and the directors) spend a lot of time trying to justify the violence in these films. Most of them center around the "life is full of violence, we're just showing it they way it is" variety. But this defense misses an essential point. If movies were simply photographs of reality, they would make great 8 o'clock news, but art they will not make.

It is naive to claim that art is just a mirror of reality. The film-makers do that for obvious reasons: they want to protect their creations from the depredations of the multidinous censors. Yet art's purpose is to evoke emotions. Showing violence does that. But so do romance, horror, bravery, depression, you name it. If it's well done, the audience would respond. And that is the purpose of art, to get a response. A lot of times we might be surprised at our own reactions, we might even be disgusted by them. Maybe the veneer of civilization is not as thin as many would have us believe and maybe, just maybe, our rational selves would be able to recognize and suppress these traits that we deem unworthy of perpetuating.

Civilization has routinely glorified violence and for good reason. We always have to fight for our gains, we always have to protect our freedoms. Liberty dies as soon as we are unable to kill to keep it.

Violence is destructive, it is ugly, and it is life. There is no existence apart from violence. We may not like it, we may deplore it, but it will never be further than inches away from even the most docile among us. Violence can also be a way of expressing ourselves and thus moving others. There can be no heroes without violence. Being a hero means overcoming fear and the only fear worth overcoming is that of untimely violent death. Getting rid of violence in the arts would simultaneously rid us of our heroes.

This is a sick but jovial book..........2001-05-22

And anytime an author can make gore an exciting and interesting element, then he's done his job. DEATH WISH, WALKING TALL, TAXI DRIVER, A CLOCKWORK ORANGE, and more. Buy it and be disgusted [...] and just enjoy!

Amazon.com

Remember the national fascination with the televised Menendez brothers' trial? What about the episode of Law & Order in which the aristocratic Upper East Sider may or may not have pushed his wife into a coma? Oh, wait, that was the Claus von Bülow story--which was also made into a movie. This type of reciprocity of law and popular culture is of concern to NYU law professor Richard Sherwin. To Sherwin, the mingling of law and entertainment flattens discourse, occludes real understanding of the law and legal practices, and threatens democracy insofar as the public loses faith in "real law" when it does not conform to the law as seen at home, in popular culture, and on TV.

Sherwin analyzes the cultural and cognitive models at play in the telling and hearing of legal narratives and critiques the tools of meaning-making by looking closely at specific well-known cases and their outcomes. He also examines the use of public relations consultants to spin and provide a seductive coherence to their clients' cases (think of the "impromptu" press conferences on the courthouse steps). When Law Goes Pop is a rich and erudite critique of law as popular culture. It is a call to be alert to the deleterious effects of what another scholar, Doug Reed, has called "the juridico-entertainment complex," and a timely reminder of what is at stake. --J.R.

Book Description

The past few decades have seen the legal system entering American popular culture like never before, from the media blitzes surrounding high-profile trials to the countless television programs in which judges rule on everyday disputes. What, if anything, does this mean for the legal system itself? According to Richard K. Sherwin, it is a dangerous development—one that threatens to turn law into spectacle, undermining public confidence as legal style and logic begin to resemble advertising and public relations.

Customer Reviews:

Much Better as a Reference than as a Read.......2002-01-29

Professor Richard Sherwin concludes his book with an explicit statement of his thesis, the usual format for mysteries but not for academic studies. If you are a reader who prefers to know where the case studies are headed before reading the case studies, you might do well to read the last chapter first. I hesitate to advise readers to do so, however. Many of Professor Sherwin's analyses of one or a few movies are rich with insight and will inform, enlighten, and even entertain. In contrast, his theoretical contribution (affirmative postmodern theory) is too skimpy to justify a place in my library. Thus, I recommend that readers locate this book in a local library and consult it regarding legal matters in popular culture.

I recommend Mr. Sherwin's analysis of Errol Morris's "The Thin Blue Line." I shall never watch or show that classic without thinking about Professor Sherwin?s gloss thereon. I disagree with his comparison of the older and younger versions of "Cape Fear." I suspected that each of his characterizations of one film might just as easily be asserted about the other, but he held my interest and impelled me to watch both versions again. Mr. Sherwin appears to believe that films of David Lynch and Quentin Tarantino tell us much about theories or institutions of law and law enforcement. I was not convinced but found the argument interesting.

I recommend highly Sherwin's comparison of the "jigsaw puzzle" closing of Marcia Clark and Christopher Darden in the first Simpson trial to the heroic saga narratives favored by Johnnie Cochran and Gerry Spence. Sherwin is especially good at exposing Mr. Spence's skill. Mr. Spence appears to be the shrewd country lawyer whom he plays on television.

I also recommend Sherwin's account of myth making in famous cases of the 19th and 20th centuries, although consideration of landmarks of sensationalism calls into question just when the law began to go "pop."

I recommend that readers skip the numerous lists of questions with which Mr. Sherwin mars his manuscript. I could never be certain where the questions were headed and where I was supposed to the find the answers, if any. Readers should be underwhelmed as well by Mr. Sherwin's generalization from aberrations, including the aforementioned Simpson trial. In these matters, Mr. Sherwin seems to succumb to pop law and to see the world in a sound bite of the erstwhile "Rivera Live."

Most of all, I urge readers to overlook his every attempt to generalize about law and legal institutions from movies. As I have said, Mr. Sherwin's analyses of movies are intriguing. However, getting from the movies analyzed to legal institutions is no minor trick. When Mr. Sherwin would generalize to the legal culture from this or that trend that he claims to see in this or that movie, the reader should indulge his impulse to attend to the movie critique and to ignore the alleged social criticism that, it appears, the author believes his cinematic analyses justify. Mr. Sherwin's methodological justification for this twist on cinematic verity is almost self-satire: "My working assumption is that film, like notorious cases, provides a reasonably reliable indicator of shared, conflicted, and newly emerging beliefs, values, and expectations"(p. 171). With working assumptions such as that, what hypothesis wouldn't work out?

Mr. Sherwin separates postmodern sheep from postmodern goats, but the author's renditions of postmodernism seemed to create multiple Potemkin Villages. The specter of skeptical postmodernism may haunt some in the Western world, but Mr. Sherwin's manifesto will strike most readers as disjointed and overwrought.

TOUGH SLEDDING.......2001-01-05

Law professor Richard Sherwin argues that the law has fallen prey to the representational form of the mass media, television particularly. The law, in its most noted form, the criminal trial, finds that it must present itself like a television drama in order to conduct its business.

This wouldn't be so bad, argues Sherwin, if the law's ability to curb popular passions, objectively search for "truth," maintain the public's faith in the system, and win the battle between legal truth and the public desire for closure all weren't hamstrung in the process.

In these days when most Americans frame their view of the world based on what they see on television, Sherwin's subject is extremely important. The question is whether this book is worth the effort it will require of many readers. And early on, it's hard to know if it is worth all the trouble.

Mainly, Sherwin couches his central argument in the opaque language of literary criticism and legalese. Perhaps this is done for the sake of greater precision. Nevertheless, as a consequence, all but legal and literary scholars will find themselves back on their heels when reading this dense work. Sherwin does, thankfully, buttress the core of his assertions with illustrations from popular trials, movies and television, which allows many readers to better follow his line of reasoning while getting their feet back under them. Still, the case Sherwin's arguing has been argued at least as well elsewhere and with less technical language.

Tough sledding aside, if you enjoy popular culture and hold the law in high regard, then ready a thick dictionary, find a firm chair, get in good light and read Sherwin's book. Only your stamina will determine whether the outcome was really worth the work.

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When Law Goes Pop: The Vanishing Line Between Law and Popular Culture
Richard K. (Author) University of Chicago Press (Manufactured by) Sherwin
Manufacturer: University Of Chicago Press
ProductGroup: Book
Binding: Paperback
ASIN: B000OPJLJC

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Just trying to learn a bit about business?

Accounting and Finance for Small Buisness Made Easy (Entrepreneur Made Easy)
Bob Low
Manufacturer: Entrepreneur Press
ProductGroup: Book
Binding: Paperback

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Accounting and Finance for Your Small Business

ASIN: 1932531173

Book Description

Finally, a book on accounting that focuses on street-smart financial management rather than accounting mechanics

Most accounting books are either too basic or too boring. This one carves a niche all its own. Instead of trying to morph you into instant CPAs, it provides practical advice through real-life examples, making it the first accounting "page-turner."

Author Robert J. Low even draws on notorious financial scandals for illuminating lessons to small and medium-size businesses. He minimizes technical information and offers straight talk on the art of controllership--a key to ensuring company profits. Accounting and Finance for Small Business Made Easy includes:

An accounting primer that demystifies terms and practices for the non-accountant
Invaluable perspective on the critical areas for managing assets: inventory control and increasing cash flow
A 10-step plan to help you start instantly to implement effective financial management

Customer Reviews:

Just trying to learn a bit about business?.......2007-05-02

Business Basics Bestseller 1: The Easy, Interesting, Open-book Look at the Game of Business Numbers! 2nd Edition

A lot of small business folks want to get a handle on basic business before they dig deeper into the details of finance and accounting. It you are pondering that issue while looking at this book, then consider as well "Business Basics Bestseller 1."

It will introduce you to the basics of business including the jargon behind the numbers and where all the formulas come from before you plow into a true "finance and accounting text." Search for "Business Basics Bestseller 1" and add it to your consideration. If you never had this stuff explained to you before, you will like it. This is not a suggestion that you substitute it for this text, just that you check it out as well. It will be one of your best investments.

Accounting and Recordkeeping Made Easy for the Self-Employed

Average customer rating:

Great Book to keep on your business shelf
Not exactly what I expected, but helpful
Clarifies accounting the way wheat is separated from chaff
It makes accounting understandable and business easy!
Well written but miss titled

Accounting and Recordkeeping Made Easy for the Self-Employed
Jack Fox
Manufacturer: John Wiley & Sons Inc
ProductGroup: Book
Binding: Hardcover

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Keeping the Books: Basic Recordkeeping and Accounting for the Successful Small Business (Keeping the Books)

ASIN: 0471032166

Book Description

If you're one of the country's 20.5 million self-employed businesspeople, here's some news you simply can't afford to ignore . . .

Each year, thousands of hardworking people watch their dreams of successful self-employment go up in smoke because of poor paper management. That's right, one of the main reasons why so many businesses fold nowadays is because their owners never learned how to properly manage their paperwork or keep accurate financial records. Now there's a way to guarantee that your business doesn't get plowed under by an avalanche of complicated paperwork or hurt by inconsistent financial recordkeeping. It's Accounting and Recordkeeping Made Easy for the Self-Employed.

In this new guide written just for the self-employed, business consultant and renowned seminar leader Jack Fox, shows you how to painlessly—and inexpensively—set up and maintain easy-to-follow recordkeeping and accounting systems in your business, whether it's service or manufacturing oriented. Based on his many years of consulting in this area and his own personal experiences, Fox clearly and concisely:

Arms you with cutting-edge techniques for managing all the financial, clerical, and analytical aspects of running a home-based business
Describes the latest recordkeeping and accounting software and shows you how to integrate it into your day-to-day operations
Demystifies accounting and walks you through accounting skills and operations, including accounts receivable, invoicing, and creating and analyzing profit and loss statements
Provides practical solutions to the most common financial and recordkeeping problems the self-employed face
Supplies you with numerous case studies, usable worksheets, and sample forms

You don't need to hire an expensive efficiency consultant because Jack Fox shows you how to manage your business in his simple, straightforward system.

Customer Reviews:

Great Book to keep on your business shelf.......2007-03-09

Very informative and reminded me of things I had forgotten. A good book for people just starting a business.

Not exactly what I expected, but helpful.......2003-11-22

Half of this book deals with the technology of organizing your own business. While that would have been very helpful in 1994, it is outdated now. If you are new to technology you may still find some good advice in those sections dealing with computer hardware, software (desktop, information management, and accounting). I just skimmed those sections to make sure I wasn't missing anything.

The other half deals with the organization and structure of accounting. I found the first chapter on getting organized particularly helpful. There is also a chapter on dealing with the IRS as a self-employed individual. The remaining few chapters address accounting and bookkeeping.

The accounting information is very good for anyone who knows very little about accounting. However, I found the same level of detail and instruction at the Small Business Administration website. I was hoping to find a little bit more of a how-to guide to setting up my business' accounting structure.

This book is an overview of all the recordkeeping issues that a self-employed person should be concerned with. However, it just didn't give me enough detail to feel secure that I was making the right decisions for my particular type of business. I just may have to use an accountant or tax attorney to get that.

I checked this book out from the library, but I wouldn't purchase it. It just doesn't have the longevity of advice that a true reference book would offer.

Clarifies accounting the way wheat is separated from chaff.......1999-07-23

Written for business people who want to be accounting and computerized accounting systems literate. No longer does one have to be in awe of the professionals who spout jargon and keep the business person dependent on their supposed expertise. This book represents liberation for the formerly fiscally challenged.

It makes accounting understandable and business easy!.......1999-07-20

Mr. Fox has a great understanding of the profession and was able to make good sense of a subject that is hard to understand.

Well written but miss titled.......1998-07-09

I felt the book was well written and he does know his stuff.... but the book was more about the history of computers than a book to learn Accounting principals, which is what I thought I had bought:( What he does write about he does well and you will learn from it A more appropriate title might be "The History of Computers and Chips" with a touch of "Accounting"

Accounting Made Easy With Your Computer: Understanding the Buzzwords and Basics of Accounting Using Today's Most Popular Software (Small Business (Sourcebook))

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Accounting Made Easy With Your Computer: Understanding the Buzzwords and Basics of Accounting Using Today's Most Popular Software (Small Business (Sourcebook))
Jean E. Gutmann
Manufacturer: Sourcebooks
ProductGroup: Book
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Marketing Made Easy for the Small Accounting Firm

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Magic Roadmap to Small Accounting Firms

Marketing Made Easy for the Small Accounting Firm
Jo Ann Rosen
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Binding: Hardcover

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ASIN: 0471111694

Customer Reviews:

Magic Roadmap to Small Accounting Firms.......2004-11-16

In this era of fierce competition and changing environment, it is increasing difficult to maintain business profits and survive for the small accounting/audit firms. In Singapore, CPAs in the many small and medium size firms are facing declining fees income from audit activities with not much expertise and resources to re-orientate its focus to new growth areas.

Jo Ann Rosen's book is a simple and effective roadmap to orientate itself out of this conundrum. The chapters are peppered with actual experiences from her time in Big 6 then. This is certainly very useful.

All in all, a good read.

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Quicken 2 for Windows Made Easy
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Quicken 4 for Windows Made Easy
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Quicken 5 for Windows Made Easy (Made Easy Series)

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Quicken 6 Made Easy
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