Despite their very different settings and the huge differences between the two murderers, the writers of ‘Perfume’ and ‘American Psycho’ choose, as characterisation, to focus on the victimisation of women through the actions of their main protagonists. Both authors raise the question as to whether the brutality of the protagonists actions are committed due to the fact they are both mentally challenged, or whether the development of their morals stem from a deeper hatred of women. Whilst it may appear that Grenouille and Bateman have much in common, both being murderers of women, one could argue that their motivation comes from different places. Grenouille’s disturbing actions come, perhaps, from a lack of emotional commitment and indeed more of an objectification of women, while Bateman’s actions seem to come more from a sense of hatred and disregard. 'Perfume' tells a story in which the protagonist’s precarious position between olfactory prowess and lack of body odour motivates a string of despicable murders.
She does this by creating hybrid creatures from mutilated dolls; she combines both young and old, and male and female body parts. “Untitled 188” (1992) is unmistakably meant to shock and terrify the audience. The shock and terror come from what the sexual element really stands for – death, power and aggression. In the artwork you can visibly see the mannequin’s sex organs; looking further into the photograph you can see her blank expression filled with helplessness and yearning. ‘Untitled 263’ depicts a hermaphrodite pelvis, mutilated and dislocated.
As such, it could be seen that it is Hindley’s treatment of Heathcliff that leads to his violent nature, and his later remark that he would like to ‘paint the house front with Hindley’s blood.’ Therefore, can we say that Heathcliff’s violence is just a product of his environment and the violence he is subjected to? This idea is one that is present throughout the novel, for example when Mr Lockwood enters the Heights for the first time, even though he is a gentle person described by Bronte as a creature of ‘tranquillity’, he indulges in violence when the dogs attack him, saying that he
Why does Duffy place ‘The Devils Wife’ in the Centre of the Collection? I’m going to explore the biggest taboo of all, when women murder children., which links in with the Moors Murderers, Ian Brady and Myra Hindley, which is what Duffy’s poem ‘The Devils Wife’ is based on. The poem is told from Hindley’s point of view, this relates to the rest of the collection following the themes of the view and issues regarding women in society and how much men influenced and controlled women. I think that Duffy put ‘The Devils Wife’ in the centre of the collection ‘The Worlds Wife’ because I think it is a turning point in the collection where women become influenced by men. She chose to put this particular poem right in the centre of the collection because it is the most taboo poem and shows just how much men can influence women in relationships or even just for sex.
She explores the use of the female predator and the prejudice surrounding this. The Male Protagonist – men become the ‘other’ in the text. Explores the macho stereotype men have had to fit – Wolf-Alice helps to reveal the count’s true self through caring for him. Explores male violence towards women – rape, sado-masochism, power relationships. Explores sexual aggression and illicit desires.
The World Health Organization defines violence as: “The intentional use of physical force or power, threatened or actual, against oneself, another person, or against a group or community that either results in or has a high likelihood of resulting in injury, death, psychological harm, mal-development or deprivation.” (Krug et al. 2002). Media violence is therefore the portrayal and depiction of violence through the media. This essay will argue that the adults today should still be concerned about the portrayals of violence in the media but not as much as the adults in the 1930s were. It will argue this motion by showing how the depictions of violence in the media have
Bodies are stabbed, sliced in half, decapitated or otherwise mutilated. Many people view the violence in this film as disturbing or desensitizing. While I certainly agree that the violence in action and horror movies with weak plots and character development is disturbing, desensitizing and unnecessarily overt, violence serves an important purpose as a storytelling tool in Kill Bill. The violence that the Bride endures at the hands of her colleagues at the wedding allows us to establish a connection with her as the good guy of the story and identify Bill and the rest of the Deadly Vipers as the bad guys. The hacking and slashing that the Bride doles out to her enemies functions as a cathartic experience for both her and the audience.
Here, one can question Huxley's word choice through the feminist lens; the adjective "pneumatic" immediately constructs for readers the violent sexual imagery of the so-named drill. However, one could take from the word that Lenina is filled with air. This in particular seems damning to the female public within the "brave new world". The artificial child-bearing described prior to this extract
Rob White: Antichrist is already making headlines because of the explicitness of its sexual violence (especially two acts of genital mutilation). There are comparisons to be made with the current vogue for “torture porn” horror, but a better initial reference point is a group of 1970s films: The Night Porter, In the Realm of the Senses, and Salò, all of which relate sexual violence to mid-century fascism. Antichrist’s concerns are contemporary—gender, ecology, science—and its accomplishment, easy to recognize so long as one is not too distracted by the gore, is to explore these philosophical themes cinematically. Antichrist is also a carefully plotted thriller. Recalling Don’t Look Now, it begins with a child’s death while mother and father (simply credited as “she” and “he,” played by Charlotte Gainsbourg and Willem Dafoe) have sex.
For many, his material is judged as what some feminists would define as a “form of violence against women”, whose representations “eroticize male domination”, (Robin Ann Sheets, “Pornography, Fairytales and Feminism” 635), but for many readers of Sade’s work, once they see through the ‘smut’ and the erotica, there is often found by the reader an underlying message which is sometimes seen as radical, or one which was not elaborated further until many years later. These messages within his literature raise the question as to whether or not Sade was a “moral pornographer”, (Angela Carter, The Sadeian Woman 19). In her book, Angela Carter defines a moral pornographer as one who “uses pornographic material as part of the acceptance of the logic of a world of absolute sexual licence for all genders, and projects a model of the way such a world might work”, (19). When one reads Philosophy in the Boudoir, and applies this definition it can be seen that Sade as a moral pornographer campaigns for “absolute sexual licence” for all genders and it is in the illuminating of this campaign that Sade further argues for the interrelationship between sexual and political freedom. In turn this argument is seen to validate Sade’s call for a Utopian type republic where all men and women are free both sexually and socially.