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Abstract<br />
To begin with I should underline that this paper bases<br />
primarily on examples of Americancinematography, the rationale<br />
for which is underlined in the two main reasons. Firstly, according<br />
to the volume of available literature and relevant authors,<br />
the American cinematography is the most prominent source of<br />
violence films. On the one hand, Hollywood films contain most<br />
ultra-violent scenes, while, on the other hand, US-based directors<br />
have made the most significant progress in the stylization<br />
and aesthetisation of on-screen violence. Secondly, by all accounts,<br />
the heaviest investment into scientific research and film<br />
violence studies is made in the USA. As one of the most prosperous<br />
nations, the USA invests considerably into understanding<br />
the violence rooted deep in its visual media.<br />
A recent study named Classical Film Violence (2003) by<br />
Stephen Prince declares to be the first of its kind with the subject<br />
of violence in classical Hollywood films. Chapter two of this<br />
paper derives directly from the Prince study. Bearing in mind<br />
there are no comparable studies in other national cinematography<br />
archives, the chapter on classical violence purely focuses on<br />
the Hollywood production. Chapter three is dedicated to the rise<br />
of the ultra-violent film and incorporates influences of other cinematography<br />
traditions on the representation of violence. Nonetheless,<br />
the closest attention in this chapter is still devoted to the<br />
American film. There are principal reasons for this, as towards<br />
the end of 1960s the Hollywood produced films with until then<br />
unseen volume of violence.<br />
Furthermore, there is a series of studies on modern Hollywood<br />
film violence, which makes this subject extensively covered,<br />
both theoretically and empirically. What should be emphasized<br />
is that there are authors, such as Prince, who have dedicated<br />
the bulk of their professional careers to studying film violence.<br />
Therefore, there are justified reasons why anyone doing a study<br />
on film and violence should base their work on scrutinizing the<br />
American cinematography.<br />
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