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It is mans nature to make sense of the vast, diverse reality we are in. We need to understand the essence of every moment we experience, every person we communicate with. We philosophize and strive to find truth and meaning from this wild whirling world that supports our existence. And from this stems how we perceive ourselves and others to beour personality, our identity.
A huge part of this wild whirling world is our media culture. Its omnipresence provides a world in itself, an environment from which we humans draw the materials to form our identity and means of channeling self-expression. Media has become such a big part of our reality that for many, the difference between fantasy and real life has been blurred (Reyes, 18). No doubt about it, media has seeped through our everyday living. Slowly, insidiously, it has given us access to everything, anytime causing moral paranoia all over due to the fact that suddenly it is difficult to distinguish the boundaries between morality and the aesthetic license.
The causal effect of television violence on aggression, even though it is not very large, exists (Eron, 1). Television, among other forms of technology such as video games and cinema, mediates violence and makes it seem more immediate, exposing viewers to levels and forms of violence they might never otherwise encounter (Bok, 18) The emergence of virtual reality enables a player to feel the excitement of a real killing. On the other hand, it may serve as a channel for aggression. The player may not foster such seething personal hatred for the enemy on screen. To him the main goal is simply to attain the highest score possible. Killing off people like in Duke Nukem or Doom or Counterstrike may have the same mechanics and achieve similar satisfaction as a wholesome pop-as-much-ballons-as-you-can-with-a-dart game at the carnival. One technology is simply more of an aggressive nature than the other. On one hand, aggressive kids get a healthy channel for their aggression, on the other, media violence may serve as a trigger for that aggression. Whatever level or type, for whatever reason it is patronized, technology has aided in the pervasiveness of media adding to its power of influence.
From here, social paranoia grows and many have debated over whether just how strong the influence of media in human existence is. We theorize to find if violence in society is truly a product of media and we work to find the interconnectedness between its tools of expression and our way of life (Notes in class, 00). Should violence in media be censored?
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Theories
The Diffusion Theory seems to dilute the paranoia of censorship. According to this theory, an idea (the message) has to go through a lot of other materials and factors that sizably affect the public's process of discerning (Notes in class, 00). This makes media not as powerful as how the hypodermic need le effect portrays it to be. Other agents in the viewers' environment mediate the flow of the message and obviously color it to mould the viewers' moral character. These may be, among countless others, education, exposure from living quarters, religiosity, the types of people we interact with and events we witness. The viewers' process of decision making, according to Diffusion, would be highly affected by culture and upbringing.
If one were to defend the issue of censorship, this then would be contradicting. This is because it precisely states that violence in media is only one of many factors that can bring about aggressive behavior from human beings.
It is in this context that censoring violence in our country is not necessary. Although, I find that it is a more pressing concern that the type of audiences watching it must be closely monitored and regulated. Violent media content should go hand in hand with proper guidance from authoritieswho should watch who.
Another good theory to support anti-censorship matters is the Uses and Gratification. According this theory, children, adults, Filipinos, black people, human beings of all sorts do what they want with media and not so much the other way round. This largely mutes the influences of media on the public, although it cannot be denied that there will always be, to some extent, some amount of influence. There seems to exist a vicious cycle where media violence makes children more aggressive and these aggressive children turn to watching (or for video games, "take part" in) more and more violence to justify their own behavior (Eron, 1). But again needs are met depending on what social context one is coming from.
Violent action flicks and the Philippine Society
In the Philippines, violence is not as much a source of heated debate as films with explicit sexual representation. Recall the bruhaha that came about when The Piano or Schindlers list was to be shown in Philippine theaters. On the contrary, when Saving Private Ryan or Bad Boys II came out with all its fabulous gore, we barely heard a peep. We hear a lot of rape cases that start with the viewing of a porno film. None yet about murder sprees by a bunch of juveniles after watching big bellied Eddie Garcia romp his weight around in Sisimba Ka Na May Bulak sa Ilong. The truth about it is, perhaps our violent films are not violent enough to spark anything as dramatic as, say, the Columbian Massacre. It does not seem to be much of a threat. On the other hand, these types of films do hold significant statements of our Filipino culture and humanity. It may reveal our warped perceptions on what the ideal isour heroes are renegades and our women are mere sex icons that do their bidding. In a way these films do become a threat as they create false ideals of what is the macho norm in society, cultivating cases of wife-beating, rape and other such things.
Coming out of the Philippine scene, we could take a look at the film, City of God, for another example. Its cast is made up of real people who actually lived in such a hellish violent world. The reality of their performance effectively pulled audiences into their bloody universe. This is what makes City of God a socially revealing and shocking film. Violence is a social reality. And violent films, though larger than life, reflect our type of culture and society. If it takes an orgy of blood, exploding heads and flying torsos to shock audiences into realizing the value and dignity of human existence, then so be it.
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