Violence On TV
The last five years have seen an increase in the stand on violence in movies. As
action movies with their big stars are taken to new heights every year, more
people seem to argue that the violence is influencing our country’s youth.

Yet, each year, the amount of viewers also increases. This summer’s smash hit

Independence Day grossed more money than any other film in history, and it was
full of violence. The other summer hits included Mission: Impossible, Courage

Under Fire, and A Time to Kill. All of these movies contained violence, and all
were highly acclaimed. And all, with the exception of Independence Day, were
aimed toward adults who understood the violence and could separate screen
violence from real violence. There is nothing wrong with having violence in
film. If an adult wants to spend an evening watching Arnold Schwartzenager Save
the world, then he should have that right. Film critic Hal Hinson enjoys
watching movies. In fact, he fell in love with movies at the same time that he
remembers being afraid for the first time. He was watching Frankenstein, and, as
he described in his essay "In Defense of Violence," it played with his
senses in such a way that he instantaneously fell in love with movies. . The
danger was fake, but Hinson described that it played with his senses in such a
way that he almost instantly fell in love. Hinson feels that most movie lovers
were incited by the same hooks as himself. Movies were thrilling, dangerous, and
mesmerizing (Hinson 581-2). Hinson says that as a culture, we like violent art.

Yet this is not something that is new to today\'s culture. The ancient Greeks
perfected the genre of tragedy with a use of violence. According to Hinson, they
believed that "while violence in life is destructive, violence in art need
not be; that art provides a healthy channel for the natural aggressive forces
within us" (Hinson 585). Today, the Greek tragedy is not often seen, but
there are other shows movies that embody and use violence. Tom and Jerry, The

Three Stooges, and popular prime time shows including the highly acclaimed NYPD

Blue and ER are all violent. There is a surplus of violent movies in Hollywood.

Usually, the years highest moneymakers are violent. Even Oscar winning movies,
those movies that are "the best of the year," have violence in them.

Silence of the Lambs, Unforgiving, and In the Line of Fire are just a few. Even
with all this violence on both the small and big screen, Hinson makes a clear
statement that real-life violence is the problem, not movie violence. He feels
that people fear screen violence because they fear we might become what is
depicted on screen. Hinson feels that to enjoy violence, one must be able to
distinguish between what is real and what is not (Hinson 587). Another essay,
this one entitled "Popcorn Violence," illustrates how the type of
violence seen in film and television is completely different than real life
violence. The author, Roger Rosenblatt, describes how young children can be
exposed to screen violence early on in life, yet the type of violence is so
fictional that the connection between what is seen on television and what goes
on out in the streets is never made. The example Rosenblatt uses to illustrate
this point is wrestling. In professional wrestling there are good guys, such as

Hulk Hogan and Randy "Macho Man" Savage, and bad guys, which includes
the likes of The Undertaker and Rowdy Piper. Every Saturday morning they go into
the ring and fight. Its good versus bad. The show, of course, is humorous, as it
is meant to be. The characters are so strange that they are comical. They roam
around the ring, yelling and screaming, looking quite ridiculous. They play to
the crowd, either making them boo or cheer. Occasionally, for example, if say

Hulk Hogan is winning a fight, the bad guy’s friends might join in and gang up
on Hulk. All of this violence, and the kids love it (Rosenblatt 589). The same
occurs in "action" movies. There is a good guy and a bad guy, but the
bad guy usually has lots of friends, and they all gang up on the good guy.

Rosenblatt explains that sometimes you root for the good guys, and other times
for the bad guys. He says that we root for the bad because sometimes
"you’re simply bored with the good guys and the bad are beautiful" (Rosenblatt

589-90). But when we do root for