Ovde - Početak

The third chapter of this paper looks at the rise of ultraviolent
films. After the Production Code was repealed and due
to coexistent violent historical circumstances, the violence in
films likewise became increasingly explicit. The evolution of the
grammar of film language in the direction of explicit violence
stylization, initiated by Japanese filmmaker Akira Kurosawa,
was propelled in the late 1960s by the likes of Arthur Penn, Sam
Peckinpah and Stanley Kubrick with their respective films Bonnie
and Clyde (1967), The Wild Bunch (1969), and A Clockwork
Orange (1971). The presentation of these three films is the
central part of this paper. The paper argues that all three feature
films initiated a novel approach to the film representation of
violence and that these films determined the approach to filming
violence in today’s postmodern cinematography. After these
highly influential films were released, ultra-violence became an
indispensible part of cinematography. During the presentation
of the violence in these three films this paper strives towards
underlining the importance of a theoretically-assumed social
context in which they came to be and the subsequent reactions
of the public they provoked.
There is a frequent use of citations of the violence films’
directors, especially those that illustrate their reactions to the
public critique.
Films like Taxi Driver (1976, Martin Scorsese) and The
Warriors (1979, Walter Hill) are included into the paper due to
special reasons. Taxi Driver is an extremely remarkable work
of art which does not boast blatant ultra-violence, but rather
a violent ambience. The Martin Scorsese film is nonetheless
included in the paper, as it depicts a deranged man inspired to
attempt the assassination of the president of the USA. This is
a key feature of this film, as the dismissal of any culpability of
the film itself for what takes place carries one of the underlying
messages of this film. The Warriors is included in the paper due
to the enormous amount of violence it incited in the real world.
The film will not be remembered for the incident when a member
of the audience, after watching The Warriors in a theatre, went
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