PORNOGRAPHY, MEDIA VIOLENCE AND CENSORSHIP

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‘THE LIBERAL VIEW OF CENSORSHIP PROVIDES CONTEMPORARY PRODUCERS OF FILM AND TELEVISION THE LICENCE THEY NEED, TO INCORPORATE PORNOGRAPHIES. THESE INCLUDE THE GRAPHIC DEPICTIONS OF SEX ITSELF, BUT EXTENDS TO COVER SEXUAL ABUSE, PHYSICAL VIOLENCE AND TORTURE. THESE SEQUENCES ARE FREQUENTLY ENACTED TOWARDS THOSE WHO ARE OTHERWISE TRADITIONALLY MARGINALIZED’.

The Durango-95 purred away real horror show – a nice, warm vibraty feeling all through your guttiwuts. Soon, it was trees and dark, my brothers, with real country dark. We filled around for a while with other travellers of the night, playing hogs of the road. Then we headed west, what we were after now was the old surprise visit. That was a real kick and good for laughs and lashings of the old ultra violence.
Alex (voice-over) – A Clockwork Orange, 1971

My being raped moved something in me so deeply that I could no longer look at it: I’d had a fear of men all of my life. [America woman]
Women Viewing Violence, p. 15

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BRAZIL’S DESIRES AND FEARS

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“Cinema Novo put Brazil’s face on the screen. It exposed our contradictions, our desires, our fears, and our convulsive energy.”
Walter Salles

Throughout this essay I shall aim to consider the relation between Glauber Rocha’s Black God White Devil (1964) and the ‘movement’ he was part of, and one of the main theorists, Cinema Novo.

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PASOLINI: REALITY PRECISELY AS IT IS

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NEOREALISM WAS THE KEY INFLUENCE IN POST-WAR ITALIAN CINEMA. ITS STATED AIM WAS TO BRING AUDIENCES TO ‘THINK ABOUT REALITY PRECISELY AS IT IS’ (ZAVATTINI).

I was twenty, not even – eighteen,
nineteen… and I had been alive for a century,
a whole lifetime
consumed by the pain of the fact
that I would never be able to give my love
if not to my hand, or to the grass of ditches
or maybe to the earth of an unguarded tomb…
Twenty and, with its human history and its cycle
of poetry, a life had ended.
(from Pier Paolo Pasolini, A Desperate Vitality)

On the one hand, without a doubt neorealism was the key influence in post-war Italian cinema.

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EASY RIDER AND THE AMERICAN SUBLIME

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ON THE ROAD

Easy Rider is about the search for happiness. Such search goes beyond the search for freedom – Easy Rider searches for what makes us full of emotions when we travel across countries on a motorbike. Towards the end Wyatt realises they blew it – they got it wrong, happiness is not where they thought it was; Wyatt wakes up to the awareness that they were searching for the illusion of freedom. Their freedom will be taken away from them. Freedom they already had, we are born with it and nothing can take it away from us, only our judgements can (on, for example, the importance of money). What they were looking for were the best conditions to implement that freedom.

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