Violence In Movies Essay Research Paper Politics

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Violence In Movies Essay, Research Paper Politics under our current campaign finance laws can be a treacherous endeavor, so we should be a little forgiving of the Gore campaign’s recent interactions with the entertainment industry. On the one hand, Hollywood executives are purveyors of what Joe Lieberman has called a “culture of carnage,” brazenly deceiving the general public and corrupting the innocent minds of children for profit. On the other hand, they just gave the Democratic National Committee about $10 million of that filthy lucre. On the one hand, Miramax’s Harvey Weinstein once circumvented the ratings system to market his movie Kids, which features 13-year-olds shooting drugs, getting infected with HIV, and having random, wretched sex. On the other hand,

Weinstein helped put together a massive Radio City Music Hall fund-raiser for the vice president a week ago. This is politics, after all. In a sign of their increasing confidence, Al Gore and Lieberman even described their attendance at these events as a profile in courage. Not every politician, we were informed, is prepared to look wealthy Malibu donors in the eye, tell them they’re poisoning children’s minds, and then ask for a check. Not that Gore and Lieberman pushed their luck. In Beverly Hills, the ever-pliant Lieberman, fast becoming the ideological Gumby of American politics, reassured the moguls, “We will nudge you. But we will never become censors.” Nudge, nudge, wink, wink–say no more. The Hollywood execs know what the rest of the country’s elites know:

that the pseudo-populism of the last couple of months is electoral hooey, and not much else. Because Gore has veered so far to the left on economic issues, he needs a dash of conservative populism to protect his right flank. Hence the sudden revival of Tipper Gore’s erstwhile campaign against dirty rock lyrics. It’s another shrewd move by the Gore camp, leaving the usual cultural scolds, like Bill Bennett and Lynne Cheney, spluttering aimlessly about Eminem. But it’s still hooey. The premise behind the argument once made by Cheney and Robert Bork, and now by Lieberman and Gore, is that the marketing of violence and sex to children leads to higher levels of teenage violence, sex, drug use, illegitimacy, social breakdown, and so on. But even a cursory glance at reality shows

that the opposite is true. The era that has seen the popular culture ratchet up its drug- addled, bigoted, violent messages to new levels of depravity has also seen one of the sharpest declines in teen violence, sex, and drug use ever. If corporate America is out to poison our children’s minds, it’s failing in spectacular fashion. Take the alleged curse of graphically violent video games, often marketed to the underage as innocent toys. This was once one of Bennett’s hobbyhorses. In the wake of the Columbine shootings, he went on “Larry King Live” to bemoan “the video games, the movies, other things. I don’t think there’s anybody [outside the entertainment industry] … who doesn’t understand the coarsening effect of a lot of this cultural crud on our kids.”

Bennett was referring to games like Mortal Kombat, which debuted in 1992; Doom, which debuted in 1993; and Quake, which came out in 1996. But Bennett has his data the wrong way around. Teen assault rates actually peaked in Mortal Kombat’s first year and have been falling ever since, a coincidence recently pointed out by the author Mike Males. In roughly the same period, teen murder rates have fallen almost 50 percent–one of the steepest declines ever. Juvenile violent-arrest rates have also headed south since Doom began darkening America’s computer screens, and they are still falling. But didn’t Columbine highlight the crisis of violence in our schools? Actually, no. From 1993 to today, the number of children carrying guns to school has been halved, according to a recent