61: The Aesthetics of Violence

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The Aesthetics of Violence, September 2002
61: The Aesthetics of Violence Introduction: Aesthetics of Violence - Imagining Realities
Arturo Aldama, Joe Lockard
The simple truth is that we do not know the precise internal causes of human violence. In the absence of convincing explanation, human societies must deal with the legal, ethical and cultural consequences of mass and individual acts of violence.
61: The Aesthetics of Violence A Tired Aesthetic
Alfred Arteaga
Race is tired. Fucking tired. The concept has seen better days.
61: The Aesthetics of Violence Reflections on a Holocaust Impostor: Fragments and Its Tortured History
Andrew Gross, Michael Hoffman
Fragments is a controversial book because it exposes the machinations behind some of our most cherished myths. It teaches us that a "people" is as contingent as its history, and that memory is a political metaphor. Wilkomirski might not be an actual victim of the Holocaust, but he is a fitting monument to victim culture.
61: The Aesthetics of Violence Ornaments of the Rio Yaqui and Beyond
Delberto Dario Ruiz
For Yoemem, and neighboring indigenous nations, land was and continues to be central to their survival, both in a material and spiritual sense.
61: The Aesthetics of Violence Euro-Trash Vampires, Toothless Kung-Fu Serfs, and Cinematic Orientale Nouveau
Arturo J. Aldama
The message becomes that on a metaphorical level they are descendents of African civilizations, but white people and their ways of polite and cultured violence are still superior to the primal blood of the "wretched of the earth."
61: The Aesthetics of Violence Dario Argento's Blood on the Walls
David Sanjek
For all their admirable qualities, Argento's films can be repulsive and flat-out mind-numbing. Argento possesses little interest in the petty details of our daily lives, but lavishes all the technical powers at his command to create cruel and audacious images of extinction.
61: The Aesthetics of Violence Buffy the Vampire Slayer and Male Defeat
Leanne McRae
It is on our television screens where radical reinterpretations of gendered identity are finding their most current manifestation.
61: The Aesthetics of Violence Falling Down: Social Contracts and the Logic of the Absurd
Justin Shaw
Films often operate as a form of social contract by challenging our moral and empathic capacity as spectators. Through its peculiar mixture of violence, humour and social critique, Falling Down tests our ability to empathise with victims of the violence perpetrated by its central character.
61: The Aesthetics of Violence Rafagazos de imágenes: jóvenes y violencia en relatos fílmicos de Medellín.
Juana Suarez
Rodrigo D: no futuro (1989) y La vendedora de rosas (1998) del director colombiano Víctor Gaviria y La virgen de los sicarios (2000) del director francés Barbet Schroeder suceden en Medellín. Estas tres producciones representan algunas de las consecuencias de la economía del narcotráfico en la juventud, enfatizando particularmente el entorno violento de la periferia de Medellín y la manera cómo confluyen diferentes estéticas e ideologías de la violencia importadas a través de la industria del entretenimiento.
61: The Aesthetics of Violence Meditations on Brutality and Digital Imagery
Cheryl Greene, Zachary Waggoner
How realistic do you want your virtual dreams to be?
61: The Aesthetics of Violence Extreme Sex, Death, and Computer Graphics Imaging Technology
Claudia Herbst
CGI is a highly gendered technology. Its origins in primarily male disciplines contribute to its gendering. The cornerstones of CGI are the sciences, mathematics, and the military, all disciplines in which women have had little presence.
61: The Aesthetics of Violence [Sadistic] California Dreaming: Pleasure in the Breaking of Mexican Bodies
William Anthony Nericcio
I am beginning to think that the recent history of our Southern Californian cultural space, Rodney King, the Rebellion in LA, the beatings of various Mexicans, has more to do with de Sade than it does with Hitler or Mengele or whatever.
61: The Aesthetics of Violence Beware of Dog: Trauma and Repetition in Leon Golub's Art
Aaron Scott
In Golub's politically-charged oeuvre over the last 50 years he has repeatedly and compulsively depicted the more extreme atrocities to plague our century. While his vision falls more in the category of the dystopic, he has struggled to expose what is truly human in our response to violence and suffering.
61: The Aesthetics of Violence "Aquí La Justicia Sale Sobrando": Lila Downs and Transfrontera Music
Sarah Ramirez
In order to transform the male-dominated Mexican cultural legacies present in Chicano nationalism, Chicanas not only have had to re-write themselves into the "movement script," but Chicanas had to participate in a Chicana-Mexicana connectivity through recuperation and transformation of Mexican female symbols and icons.
61: The Aesthetics of Violence Hyper-Masculine and Misogynist Violence in Chicano Rap
Pancho McFarland
Chicano rappers rap about hitting each other, hitting cops, and hitting and abusing women. My first question was why do these young men spend so much time thinking about, writing about, and listening to stories of violence?
61: The Aesthetics of Violence Violent Ballads as Border Representations: The Aesthetics of Violence in the Mexican and Chicana/o Corrido
Peter J. Garcia
The contents, poetic organization, musical form, and aesthetic history of corridos lead to an alternative interpretation of the nature of violence in Mexican and American societies as seen through the Mexican's sense of history, music, and culture.

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