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https://www.dailysabah.com/opinion/op-ed/impact-of-media-violence-on-society-cause-or-outcome

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When we talk about the relationship between media and society, the first striking fact we encounter is how violence portrayed in media can have a particular effect on people. All studies in this field since the beginning of the 20th century reveal that violent content impacts individuals and societies.

The frequent presence of violence in newspapers, television, cinema, and the more widely used virtual environments today is a problem that arises out of the need to reach a wider audience and secure financial interests.

Violence sells itself. It is interesting, it arouses curiosity and because of that, TV series, movies, news, video games and social media platforms have become a place where it can be found easily. Therefore, it is an essential debate whether the intense level of violence in mass media desensitizes individuals and increases the frequency of violence in real life.

We all know that utmost attention is paid to action and violent scenes in movies and TV series because they help draw the audience's attention easily. While preparing a headline for a news story, the use of the most striking feature in the headline is still widely popular today and because of this, any element of physical violence in it takes center stage. The most striking headline highlights the words or sentences that convey violence in the harshest way. Even the news itself may appear weak to both the reporter and the reader without the use of adjectives and adverbs that exaggerate the violence.

Violence breeds violence

Violence is a phenomenon that is easily encountered in traditional mass media such as television, newspapers, or virtual platforms like video games and has a psychological impact on individuals. Clinical studies on the subject show that undesirable behaviors like violent tendencies, aggression and introversion are more prevalent behavioral patterns in young people who are exposed to violence. The most interesting aspect of this situation is that violence does not need to be experienced in real life. Being exposed to violent content in a video game, television or cinema can easily have nearly the same effect.

The findings also indicate that these young people are more prone to committing crimes. To sum it up, the research shows that violence breeds violence and naturally crime. The media indirectly helps increase the incidence of violence that all societies try to combat and prevent in many ways. Although learning of violence through media may seem unbelievable, unfortunately, this is what is actually happening. In a society where the tendency to violence is increasing, the inevitable result, not surprisingly, is an increase in crime rates. After all, we all know that violence is learned through imitation and is the main element in many crimes.

The 4 consequences

Exposure to violence through the media has four main effects on people. These were defined as incitement to aggression, fear of victimization, depersonalization and appetite effects. These four effects give enough clues to grasp the negative situations that violence in the media can lead to. It is not difficult to predict that if the desensitizing effect spreads to society, it will have a devastating impact on the victims of violence in real life.

The most crucial factor that will lead to the spread of violence in a society is that it is perceived as a normal, natural and acceptable occurrence in daily life, instead of wrong, harmful, illegal and criminal. The most important supporters of this situation are the media tools, which are the primary source of this depersonalization effect. The media brings all this violence into our daily lives and unleashes its impact on society as a whole.

The language of news

In the most general terms, violence means ruthlessness, harsh behavior and brute force. Although the concept of violence, which has many different types, generally refers to physical effects, there are other types of violence such as psychological, verbal, nonverbal and sexual violence. What is surprising is that the processing and presentation of violence in the media is as old as the history of mass media itself. In this way, all kinds of violence can appear familiar or normal to people. For many, the fact that they have never encountered or never been exposed to such violence in their daily lives loses its importance at this point.

The existence of violence in the media has been the subject of discussions for many years and has also been the subject of many scientific studies. The simplest explanation is that violence has an important place in media because it facilitates sales. In other words, it ensures that the media content is preferred and consumed by wider audiences.

Some theorists argue that all types of violence are a set of learned behaviors. They draw attention to the fact that violence frequently featured in the media can lead individuals to engage in violent behavior. Based on this view, we might say that we are facing a very serious problem. Especially nowadays, media content produced anywhere in the world can be transmitted over great distances within seconds. It is common knowledge that violent items are quickly produced, shared and easily accessible. Due to factors such as recording, sharing and rewatching the content, people may be exposed to the same element of violence repeatedly. Digitalization, which is a tremendous opportunity for humanity to transfer information, turns into a process that increases the frequency of violence in the media to an unlimited level at this point.

On the other hand, some theorists state that a person will not exhibit violent behavior just because he or she encounters violent elements in the media. While accepting that violence is a learned behavior, they say violence learned from the media will be abandoned in a short time. Some experiments also support this view. According to the results of some experimental research on children and young people, it has been observed that children who watch cartoons containing violent elements use violence while playing with their toys, but they stop this behavior in a short time.

The critical point and the main question here is to what extent will a child's behavior be affected when they are regularly exposed to violence in all media content. After all, we definitely know that their behavior changes due to the content of cartoons, even for a short time. If violence is encountered in all media content, especially in news, which is the most powerful representation of the real world among media content, this situation might have the capacity to affect all members of society. Depersonalization starts showing itself after this point. Individuals who have become desensitized to violence may perceive it as natural and ordinary when they encounter violent events in their daily life.

Although elements of violence are frequently encountered in all media content, such as digital games, TV series and movies, violence is also commonly included in the news content. The presence of violence in news content can be described as more dangerous than other media elements. It is known that all other media items are a product of fiction and consumed with this perspective. Still, when it comes to "news," it is thought to be an extension of real life, a reflection of reality.

As a result of violence in media, people may start believing that violence in the world is much more prevalent than it actually is. This highlights the importance of the language used in the news media. Although some practices such as many legal regulations, ethical principles, publishing rules and responsibilities have been determined to protect the individual and society from the harmful effects of media violence, it has not been possible to eliminate the presence of violence in media content altogether. However, although there are measures, such as warning symbols, to prevent the harmful effects of violent productions, at least for children, it does not seem possible to limit access to media material in today's digital age.

The most critical barrier to the worldwide sale of media content is cultural differences and violence is the main content that can be sold almost unaffected by these differences. Therefore, incorporating violence into different content, from video games to TV series and movies, from newspapers to new media elements, is a frequently applied method. By overcoming the obstacles created by cultural differences, violence, which is rapidly sold around the world, can find its place in all media.

Technological developments have enabled societies to access information with extraordinary ease but it has also brought the downside of the constant exposure to information with it. Unfortunately, a significant part of the media material contains elements of violence. Moreover, news content is one of the most important carriers of violence. In fact, even news of violence against women can increase the incidence of violence against women. It is known that presenting news of violence in a detailed and dramatized manner is instructive for people who are prone to violence.

It should not be forgotten that the language of the news media is an important factor in preventing violence to the public. Using language that normalizes violence will inevitably desensitize society to violence and this depersonalization has a significant impact on the failure to prevent violence.

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Impact of media violence on society: Cause or outcome? | Opinion

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Whether depiction of violence in media triggers social problems or vice versa is a chicken and egg situation. However, in any case, the language used in...

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https://www.themarysue.com/we-need-to-talk-about-those-annoying-white-people-in-squid-game/

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***SPOILER ALERT: This post spoils the final episodes of Squid Game, you've been warned.***
Netflix's Korean survival drama Squid Game has become a pop culture phenomenon. The massively successful Korean series is now one of the most streamed shows in Netflix history, with a global reach that rivals beloved series like Stranger Things and The Witcher. And it's easy to see why: Hwang Dong-hyuk's series offer compelling human drama, terrific performances, stunning production design, and one of the most tense viewing experiences in recent memory. The series is simply damn good television.

No doubt this Halloween will see plenty of people dressed as players, guards, and even that little girl killer robot. But while Squid Game is an absolute thrill, there is one glaring issue within the series that I struggle with. Namely, it's white people.

White people have a long history of ruining things we all love, from the macro (the environment, democracy) to the micro (cornrows, Chinese food). As a white woman myself, I can attest that we have an extraordinary talent for fucking up a good thing.

So it's hardly a surprise that the second some white people show up on Squid Game Island, the series takes a turn for the dumb. As the game moves to its final rounds, a flock of VIPs descend on the island, their identities shielded by metallic animal masks. Sidebar: aren't those masks heavy to wear? And how do they drink from a glass without spilling all over themselves? the VIP section is filled with sumptuous couches and body-painted servants, but no straws? Is the Host eco-conscious or just psychotic?

These VIPs are meant to be titans of industry, the wealthiest one percent who are bored with earthly pleasures and luxury. Now, the only way they can get their rocks off is by betting on players in the game. It's a trope we've seen in countless "death game" films, from the powdered wig set of The Hunger Games series to Roman emperors presiding over gladiator battles.

But THESE guys?! Ugh. I don't know where they found these actors (presumably American tourists wandering the streets of Seoul), but their line deliveries are so arch and over the top it ruins the experience. The VIPs also engage in endless exposition, parroting information viewers already have. For example, when five people remain in the game, you'd hear this kind of forced banter:

VIP 1: Only five remaining players.

VIP 2: And then there were five!

VIP 3: 451 down, five to go (maniacal laugh).

VIP 4: At least number 69 is still there! (everyone laughs at a 69 joke).

BITCH, WE KNOW. We have eyes and we are watching the same show! What are you adding to the proceedings?!? Not a damn thing. Squid Game, a clear allegory for capitalism and wealth inequality, doesn't need these jabronies harping on, especially when their dialogue adds absolutely nothing and is deeply cringeworthy. Everything they say feels like a bad studio note.

Yes, billionaires are immoral, but do they have to be so boring? Fellow masked bad guys like the guards and the Front Man cut a malevolent figure, making them strong, threatening villains. But these VIPs are neither frightening nor intimidating, just simply exhausting. And every time the show cuts back to their banter, it took me right out of the series.

The concept of VIPs I have no problem with, but the execution of their scenes leave something to be desired. All in all, their presence would have been so much stronger had they remained silent and mysterious.

What did you think of the VIPs in Squid Game?

(image: screencap/Netflix)
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SPOILER ALERT: This post spoils the final episodes of Squid Game, you've been warned.*** Netflix's Korean survival drama Squid Game has become a pop culture phenomenon. The massively successful Korean series is now one of the most streamed shows in Netflix history, with a global reach that rivals beloved series like Stranger Things and The Witcher.

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https://thenewtwenties.ca/articles/princessmononoke#:~:text=The%20film%20delivers%20the%20message,both%20in%20film%20and%20reality.

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industrialization isn't necessarily evil, but the way in which humans protect their industry with violence continually disallows balance between human and nature

ORIGINALLY RELEASED IN 1997, Hayao Miyazaki's classic Japanese anime epic Princess Mononoke ( Mononoke Hime) has always made me emotional, but against the backdrop of 2020, the film is much darker. The hard-hitting political anime provoked conversation when it first premiered, and it's disappointing, to say the least, that the world still needs to hear the same message 23 years later. Between wildfires raging through Californias, the oil spill in Mauritius, and pipeline explosions in British Columbia, the parallels between Princess Mononoke and 2020's climate disasters go without saying. Although most Studio Ghibli films are often woven with environmental themes, Princess Mononoke is less subtle in its argument for climate justice.

Studio Ghibli and Hayao Miyazaki's films have long had a cult fan base. The academy-award winning film house recently released all 20 of their films onto Canadian Netflix, and the binge watching immediately ensued. Childhood favourites for most of us have resurfaced and are being rewatched and re-contextualized for today's events, with a new, sometimes more cynical, adult lens. After all, a Netflix release is essentially a new release. Princess Mononoke was released 23 years ago, but it may be even more relevant today.

A clear fable about the consequences of destroying nature and human's inability to live in harmony, Princess Monoke follows Prince Ashitaka as he meets opposing characters such as San (Princess Mononoke herself), a human raised by a wolf goddess fighting to protect the forest spirit, and Lady Eboshi, leader of Irontown,a working fortress producing and selling iron.

We quickly learn that Lady Eboshi clearcut the surrounding forests in order to produce more iron, putting Irontown at odds with the Boar God and the rest of the natural gods. Eboshi's workers are mostly social outcasts, sick men, and women rescued from brothels ("Here the men don't bother us, unless we want them to!"). Despite the negative environmental effects of her actions, it is clear that Eboshi is not an evil person, and has created a safe haven of sorts.

Still, San and the wolf goddess attack Irontown. Eboshi intends to kill the forest spirit, both to use its legendary healing blood to help the sick people she protects in her city as well as exchange the head to Lord Asano, leader of an army of samurai, for his protection. The war between the humans and the forest Gods escalates until the film's climax, when both sides learn to live in harmony, just in the nick of time to avoid catastrophe.

Not unusually for Miyazaki films, Princess Mononoke is full of complex female characters. One of my favourite moments is when Ashitika rescues some of Irontown's men after a wolf attack, and a huge intimidating man acting as the head guard saunters down to greet him with doubt. But one of the men's wives runs down to put everyone in their place, glowers up at the men trying to intimidate her and the prince, and promptly begins flirting with their new guest. The women of Irontown are hilarious, strong, and brave.

When the wolves attack, it's Eboshi and two of her female workers leading the guard. The samurai attack Irontown while the men are away, and when Ashitika tries to rescue them mid-attack, the women assure him that they don't need him, they just want Lady Eboshi safe. With San, too, we see each side being led by strong women.

Throughout the film we see yet another familiar theme; working class peoples' exclusion from social and environmental movements movements. The discord between the forest animals and Gods to the iron town workers is misplaced. A deep misunderstanding and desperation for survival fuels the violences, and it is necessity and not greed that fuels the iron workers. This can easily be applied as an allegory for the conflict between forestry workers and environmental groups in British Columbia; as local historian and professor John-Henry Harter writes, "the positioning of the argument as jobs versus the environment has been a successful tool used by timber companies and pro-business lobby groups to divide and conquer their critics, but it is a false dichotomy."

The same applies in Princess Mononoke - to reduce the story line to human workers vs. nature would be missing the larger point.

With all the heavy topics (and, at times, scary animation!), one might be surprised that Princess Mononoke is a children's movie. Even Miyazaki himself felt the content of the film might be hard for children to comprehend at a young age. Speaking at a Toronto film festival in 1999, he stated, "What did [the children] see, and what did they encounter in this film? I think you'll have to wait for about 10 years for them to be able to grow up sufficiently to be able to articulate their emotions about it."

The film delivers the message that industrialization isn't necessarily evil, but the way in which humans protect their industry with violence continually disallows balance between human and nature. What humans choose to protect influences the course of history, both in film and reality. In the world depicted in the film, magic runs rampant in the forest hills and balance is achievable if only everyone works together and hatred is buried.

Unfortunately, once removed from the film's fairytale landscape, this solution seems like a gross oversimplification. Just like Miyazaki said, I wasn't able to form my thoughts about this film as a child. I took my ten years to grow up, and can now articulate that the world is far worse off than it was when this masterpiece originally premiered.

When I first saw this film, I felt content, hopeful. As an adult, painfully aware of our dire climate realities, it is much easier to feel defeated. But, thankfully, the film and its characters' relentless pursuit of change means this stunning movie is still a powerful piece of climate art.

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Princess Mononoke and Our Environmental Relationship - The New Twenties

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Studio Ghibili and Hayao Miyazaki's Princess Mononoke (1997) delivers the message that industrialization isn't necessarily evil, but the way humans protect their industry with violence disallows balance between human and nature. What humans choose to protect," writes Theresa-Anne Clarke Harter,

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https://amp.marca.com/en/lifestyle/tv-shows/2021/10/19/616ea092268e3eb2698b4584.ht

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Following the success of , an audiovisual production company has announced their plans to convert the popular Netflix series into a real life competition, one which will take place in Venezuela.

'Squid Game' has become the streaming platform's most-watched series of all time, reaching 111 million viewers worldwide since it premiere on Netflix just four weeks ago.

Its success has now urged '11-11 Producciones' to turn the dystopian South Korean drama into a contest that will take place in the Venezuelan capital of Caracas.

The 'Squid Game' registration fee and prize

Those who are willing to participate in the contest will have to pay a 10 dollar registration fee, with the production company stressing that "no one will be assassinated" throughout the games.

The participant who manages to win all six games will receive a prize of 1,000 dollars and the winner will be safely escorted by the state security to avoid any incidents on their way back home.

Meanwhile, those willing to attend the games as part of the audience will be asked to pay the price of one dollar to experience this exciting contest.

Which are the rules of the real life 'Squid Game'?

Meanwhile, the production company has also released a series of regulations through a post on social media to ensure that all participants are aware of the guidelines before paying the 10 dollar fee to participate in the six games.

The six rules announced by 11-11 Producciones are as follows:

A number will be assigned to each participant after their registration is confirmed.

The prize that will be received by the winner is one of 1,000 (one thousand) US dollars.

No one will be killed in this event.

Participants will compete in six games that will be revealed on the day of the event.

Any eliminated player must either leave the game or stay as a spectator.

There will be police security, medical service, transportation, hydration for participants and a state escort for the winner.

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The real life 'Squid Game' contest that will take place in Venezuela

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Following the success of , an audiovisual production company has announced their plans to convert the popular Netflix series into a real life competition, one which will take place in Venezuela. 'Squid Game' has become the streaming platform's most-watched series of all time, reaching 111 million viewers worldwide since it premiere on Netflix just four weeks ago.

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The upperclass white men in Squid Game are bored with their privileged lives so they bet on the less fortunate. A comment on white privilege? The villains

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Tv show I will use in my comparative answer is Squid Game (2021). The biggest series launch in Netflix's history. It reached roughly 111 million viewers.

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Scientific theory: Violence in media leads to an increase of real world violence and aggression. 

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The film I will be using in my comparative essay answer. Made in 1997

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Violence is used to enforce the humans vs environment theme. Throughout the film, the humans destroy the environment for it to be finally restored in the end. 

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Environmental decline - how humans are slowly killing the planet 

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How does violence within tv shows/film impact society?