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Fictional Media Violence - an Alternative Demon

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'An Alternative Demon'

'An Alternative Demon' is a 4 min screenplay that juxtaposes different categories of

film violence throughout its entirety, these could include Morrison's (1999) 'Playful

Violence' and 'Authentic Violence'. Its aim - to be categorised in Rutsky & Wyatt

(1990)'Serious Pleasure' and 'Fun'. It has 'Mixed Modalities' (King 2004) encoded

by Soundtrack with its own hidden narrative, inspired by Deutsch (2007) , Barnes

(2007) and Chion (1994).

This essay will example how the use of fictional media violence theories and

concepts have been linked to the creation of 'An Alternative Demon'. I will evaluate

how the piece is formed by the blending of the theories and concepts into my practice

textually and sub-textually.

Firstly I aim to critically analyse The open scene of 'An Alternative Demon' using

Morrison's (1999) strategy to define the interpreted violence, from my own


Secondly I am going to drawn upon sound by 'Deutsch: Soundtrack' (2007) to define

and decode the soundtrack of 'An alternative demon' My aim is to scrutinize the

'tone' that the soundtrack provides and how the meanings generated by the layers of

the soundtrack, are an an essential part of the narrative.

I propose an argument that is structured around these two aims. Through

examining how the original design of making the soundtrack have it owns narrative,

I have 'mixed modalities' of violence (King 2004) through the stylistic design which

has enabled me 'to get away with' and present 'pleasurable representations of

violence that might otherwise be more disturbing' (King 2004, Pg 126)

In the first instance, Morrison (1999, Pg 3) poses the question; how do viewers define

violence?' He devised three categories, to place fictional violence within, 'Playful'

'Depicted' and 'Authentic' This is broken down further into violence with a 'little v'

a 'big V' and 'Massive V'.

'Playful violence' is unmistakably performed violence and is seen as unreal. It is

mostly comical and always of a weak nature and never of a strong or graphic

constitution. 'Playful violence' is usually for the comical value. Morrison (1999)

states this is generally placed into the category of violence with a 'little v' as this

'does not assault the sensibilities'.

'Depicted violence' is characterised by how 'realistic' it is portrayed, or how close it

appears to real life. Often this is represented by graphic images with use of close ups

shots and the impact of injury is clearly seen. This can certainly 'assault the

sensibilities' and is seen as violence with a big 'V'.

'Authentic violence' is portrayed in a world the audience can recognise. Morrison

(1999)uses the example of domestic violence. This type is designed more than any

other type to make the viewer feel as though it closer to their own lives. It is not as

simple to make the distinction of whether it is 'little v', big 'V' or 'Massive V' as it

has the potential to be all three, this depends upon how the scene is presented. This

type has the potential to 'assault the sensibilities very strongly'. The types of footage

that fall into this category are all fictional types of violence yet 'real life' screen

violence, such as news footage, documentary etc. Morrison (1999) calls this

'Actuality' material.

The analysis of 'An Alternative Demon' will define which of these categories its

'form and content' (Corner 2000) fit into and explore how the intertextual meaning

causes cross overs within these Morrison's categories and creates debate about its


The open scene to 'An Alternative Demon' creates an aural sensation of distorted

radio waves against a black screen. The 'Skushhhh' tunes to the upbeat melody of

Rock n Roll in Screamin' Jay Hawkins 'Little Demon'.

Fade In the fast forward effect visual and we are confronted with an angry boy who

later appears with a knife with a look of hatred in his eyes.




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