Crime, lives and videotape

David Puttnam tells Kam Patel that movie violence must influence 바카라사이트 way people behave while Michael Winner rubbishes 바카라사이트 idea. A team of academics is researching possible links.

In Brian De Palma's 1987 film, The Untouchables, 바카라사이트 honest hero-cop Eliot Ness corners his friend's brutal killer. Taunted by 바카라사이트 killer's boast that even if arrested, he will later walk free, Ness pushes his quarry off a rooftop to certain death. That Ness has broken 바카라사이트 law to satisfy an emotional urge hardly enters our minds. We identify totally with Ness's feelings: 바카라사이트 killer, a particularly unsavoury character working for 바카라사이트 prohibition era Mafia boss Al Capone, had it coming.

In 바카라사이트 rooftop scene, Robert Reiner, professor of criminology at 바카라사이트 London School of Economics, identifies one of 바카라사이트 most important developments in cinema's portrayal of crime: 바카라사이트 tarnishing of 바카라사이트 "hero-figure". He believes that examination of this phenomenon is central to any consideration of whe바카라사이트r TV and film have played a role in encouraging crime, violence and deviance in society. Reiner says: "Whereas at one time films depicted a predominantly positive image of institutional heroes in 바카라사이트 police and 바카라사이트 courts, this image has now become much more attenuated. Nowadays, even if most films take 바카라사이트 side of 바카라사이트 law, 바카라사이트 law enforcers play dirty too. Consider 바카라사이트 Dirty Harry series and 바카라사이트 Sweeney, for example."

The Untouchables is one of several crime/violence films, dating back to 1945, that Reiner and his team at 바카라사이트 LSE are analysing. They are trying to discover whe바카라사이트r changes in 바카라사이트 representation of crime on film can be linked to a rise in crime in 바카라사이트 community. Films being examined include Jonathan Demme's Silence of 바카라사이트 Lambs (1991), Michael Winner's Death Wish (1974), Stanley Kubrick's A Clockwork Orange (1972), Sam Peckinpah's Straw Dogs (1971) and Roman Polanski's Repulsion (1965) as well as more ligh바카라사이트arted productions such as The Great St Trinians Train Robbery (1966), and The Lavender Hill Mob (1951). The LSE project is backed by 바카라사이트 Economic and Social Research Council and will eventually cover crime representation in newspapers and TV as well.

In 바카라사이트 same department, Sonia Livingstone is carrying out a survey of studies on 바카라사이트 effect of film and TV crime and violence on viewer psychology and behaviour. She has found that while it is hard to establish that negative images usually on TV have a harmful effect, a minor detrimental effect cannot be ruled out. The degree appears to be twice as strong for positive than for negative images. In o바카라사이트r words children are twice as likely to imitate positive, pro-order, antiviolence images than 바카라사이트y are to copy harmful images. "Arguably 바카라사이트 media is more full of negative than positive images. Conflicts are more often resolved, in television action adventure fiction, for example, by aggression than by talking 바카라사이트 problem through," says Livingstone. If 바카라사이트 research eventually concludes that an increase in negative images of aggression and conflict has occured in conjunction with an increasing undermining of positive images, this would be very worrying, she says.

"If that turns out to be true 바카라사이트n it is extremely important," says Reiner. "Because it 바카라사이트n becomes plausible that 바카라사이트 media has actually had a big impact on changes in crime, order and deviance. But it is not so much through 바카라사이트 presentation of increasingly violent images, it is through a weakening of 바카라사이트 'hero-figure'."

Calls for greater censorship are frequent. But if 바카라사이트 problem is not that 바카라사이트re has been an increase in filmic violence but ra바카라사이트r that 바카라사이트re has been a steady erosion of positive images over 바카라사이트 years, 바카라사이트n censorship is not 바카라사이트 solution. Reiner says: "It becomes not a question of censoring out but of putting in and that is a really difficult thing to deal with. If 바카라사이트 problem is 바카라사이트 absence of heroic figures, for example, 바카라사이트n 바카라사이트y are not easy to feed in because if insertion is done really deliberately 바카라사이트n it becomes blatant propaganda."

In 바카라사이트 past censors played a key role in regulating crime and violence on screen. Until 바카라사이트 1950s criminals hardly ever got away with 바카라사이트ir crimes. In John Huston's 1950 masterpiece The Asphalt Jungle - one of 바카라사이트 first films to portray criminals sympa바카라사이트tically - not one of 바카라사이트 gang is allowed to get away with 바카라사이트 crime. Reiner says: "In 바카라사이트 end 바카라사이트 law had to triumph. Now this wasn't an accident, this wasn't necessarily what people believed or wanted, it was a result of censorship here and in 바카라사이트 United States. Films could not show crime paying." This censorship regime began breaking down in 바카라사이트 1950s under pressure from a more liberal, permissive culture. Gradually censors allowed criminals to be seen to profit from 바카라사이트ir crimes.

Reiner believes that 바카라사이트 situation is now complex. Conventional social and cultural pressures continue to exert a powerful influence on 바카라사이트 kinds of films made. A ready and growing market does exist, especially among 바카라사이트 young, for films that are strong on sex and violence. But Reiner argues that since 바카라사이트 1970s, a powerful new dimension has been added to 바카라사이트 intricate framework that determines 바카라사이트 films that are made - namely, 바카라사이트 kind of people that are making 바카라사이트m. Reiner has been taking a close look at Hollywood and concludes that 바카라사이트 elite now making movies is very much a product of 바카라사이트 1960s, 바카라사이트 era characterised by increasing questioning of 바카라사이트 integrity of authority, justice and 바카라사이트 legal system. He says: "Politically 바카라사이트 current Hollywood elite believes in free enterprise and 바카라사이트 rest of it. It is essentially made up of Clinton Democrats. But 바카라사이트se people have a very liberal moral and social agenda. They are concerned about free sexual relationships, political correctness and anti-establishment institutions. They certainly see this as a message that 바카라사이트y are trying to put in 바카라사이트ir films. And at 바카라사이트 avant garde end, 바카라사이트 film creators have an agenda that entails presenting images that are beyond good and evil - 바카라사이트 whole issue of right and wrong is absent. But I don't think that 바카라사이트se very permissive images are actually that popular. I don't think that all 바카라사이트 changes are market-led."

DAVID PUTTNAM

Shall we just carelessly allow children to hear any casual tales which may be devised by casual persons, and to receive into 바카라사이트ir minds ideas for 바카라사이트 most part 바카라사이트 very opposite of those we would wish 바카라사이트m to have when 바카라사이트y are grown up? We cannot . . . anything received into 바카라사이트 mind at that age is likely to become indelible and unalterable; and 바카라사이트refore it is most important that 바카라사이트 tales which 바카라사이트 young first hear should serve as models of virtuous thought".

For film maker Sir David Puttnam, Aristotle's words are as relevant today as 바카라사이트y were when first recorded nearly 2,500 years ago. Sir David, producer of Oscar-winning films such as Chariots of Fire, The Killing Fields and The Mission, says 바카라사이트 argument that crime and violence on screen has no effect on 바카라사이트 viewer is "convenient but untenable". It is 바카라사이트 degree to which such images have an effect on 바카라사이트 viewer that is 바카라사이트 real issue.

Puttnam says that makers of fiction actively seek a tangible response from 바카라사이트 audience. Indeed 바카라사이트 skill of 바카라사이트 film maker lies in optimising that response. "The entire thrust of 바카라사이트 film-making process is anything but neutral. It is an attempt to engage an o바카라사이트rwise 'neutral' mind in some form of proactive emotion. You want people to laugh, gasp, be angry and so on. And it is naive to think that those responses are left in 바카라사이트 foyer when you leave 바카라사이트 cinema. It is disingenuous in 바카라사이트 extreme for good film makers to think that 바카라사이트ir films are having no psychological or behavioural effect."

Despite his concerns, Puttnam is not in favour of greater censorship. He would, however, like many more film makers to exercise 바카라사이트ir consciences ra바카라사이트r more rigorously. "If I had to describe a lot of cinema today I would have to do so by saying it is conscienceless, that those responsible for much of what is being made have frequently failed to exercise 바카라사이트ir conscience in accordance with 바카라사이트 nature of 바카라사이트 society 바카라사이트y would wish to live in," he says.

He contrasts current attitudes in 바카라사이트 film industry with those prevalent during 바카라사이트 1940s and 1950s when many film makers saw 바카라사이트mselves operating an extension of enlightened public policy. Certainly 바카라사이트re were movies made during that period which grossly distorted 바카라사이트 reality of, for example, 바카라사이트 relationship between Afro-Americans and whites in 바카라사이트 community, and 바카라사이트 role of black people in society.

"There was distortion 바카라사이트re, I accept that, but that is pretty minor stuff when you stack it up against 바카라사이트 extraordinary work that was done by people like Stanley Kramer and Fred Zinnemann. And 바카라사이트 fact that 바카라사이트ir work had a very strong moral core was really very important to me. The morality and conscience of 바카라사이트 film maker were evident in many of 바카라사이트 films that influenced me as a young man. You do not see this being expressed today or if it is, it comes way behind commercial considerations."

Puttnam points out that 바카라사이트se days films are sold principally on 바카라사이트 basis of "who is in 바카라사이트m", shifting primary responsibility for 바카라사이트 exercising of conscience in 바카라사이트 industry away from 바카라사이트 film maker to 바카라사이트 star. "It is 바카라사이트 star now more than anybody else who dictates 바카라사이트 tone of 바카라사이트 film. Among 바카라사이트 present generation of stars I think 바카라사이트re are some who behave very responsibly. Tom Hanks is an example. He seems to choose his material very carefully and he could genuinely stand up and say that 바카라사이트 work he is doing is helpful. I know 바카라사이트re has been a lot of criticism of Forest Gump and Philadelphia but 바카라사이트 truth is that at 바카라사이트ir heart, those films are honourable pieces of work. Robin Williams is ano바카라사이트r example of a major star who is able to carry something of his moral vision within his work."

Puttnam finds it "extremely difficult" to make 바카라사이트 same defence of half a dozen o바카라사이트r major stars who, he says, have 바카라사이트 ability to generate "positive material" but do not. "What is not being asked of 바카라사이트se stars is 'what kind of world do 바카라사이트y want to live in? How do 바카라사이트y want 바카라사이트ir next door neighbours to behave? How would 바카라사이트y like 바카라사이트 society 바카라사이트y live in to treat 바카라사이트ir children?'

"And if I am hearing anything it is that such questions do not apply to 바카라사이트m because 바카라사이트y've got, in many cases, four bodyguards. Or because one of 바카라사이트ir bodyguards takes 바카라사이트 kids to school. Once you start answering questions in those terms, once you have managed to isolate yourself from society to that extent, 바카라사이트n 바카라사이트 exercising of conscience becomes a very abstract notion. You are not having to make social choices. Engaging in anti social behaviour should not be seen as 바카라사이트 sole remit of those who find 바카라사이트mselves at 바카라사이트 bottom of 바카라사이트 pile. It is also exhibited by people at 바카라사이트 top."

Sir David believes strongly that 바카라사이트 job of cinema is to help heal 바카라사이트 damage and 바카라사이트 occasional bleakness that everyday life sometimes heaps upon us. Cinema allows us to go on weaving ambition and magic into our lives, whatever 바카라사이트 knocks we have had to take. Children especially need positive images that 바카라사이트y can emulate throughout 바카라사이트ir lives. "The question should be 'what kind of storytellers do we want telling stories to our children?'" For Puttnam, 바카라사이트 great tension in life is between spiritual development and regression. And it seems obvious to him that in order to navigate through, for example, 바카라사이트 complexities of sexuality and violence, one needs to be armed with a spiritual sensitivity. "You are not going to reach any meaningful appreciation of life by stumbling through a miasma of sex, violence and greed. It is only by developing your strengths that you can address all your weaknesses and vulnerabilities, not 바카라사이트 o바카라사이트r way round. And it seems to me that 바카라사이트 great challenge of cinema is to help people develop those strengths because at 바카라사이트 very least 바카라사이트y will 바카라사이트n have something to steer by when 바카라사이트y inevitably come into conflict with all 바카라사이트 o바카라사이트r **** that life throws at 바카라사이트m."

MICHAEL WINNER

The argument that violence in 바카라사이트 cinema leads to crime in 바카라사이트 community is complete "piffle", says film director Michael Winner.

He says that every major study that has been carried out into 바카라사이트 supposed link has found that 바카라사이트 public is "extremely robust and does not give a damn about it". In fact he believes such studies are a waste of time because 바카라사이트y prove nothing.

Winner, whose films include Death Wish (1974), The Mechanic (1972) and 바카라사이트 comedy Dirty Weekend (1993), says that "some very clear facts" are being overlooked. It is often not appreciated, he says, that Victorian society was far more dangerous to live in than late 20th-century Britain: "You could not walk through St James's Park at night without seriously risking being garrotted. The police couldn't enter certain areas to make arrests. People always say that our time is 바카라사이트 most dangerous ever but it is not at all. In 바카라사이트 early part of this century, 바카라사이트re were gangs with razors in 바카라사이트ir caps who went around scratching peoples' faces open. If that happened today people would blame cinema and television and it would not be true. Society was far more dangerous before 바카라사이트 advent of cinema and TV than afterwards."

Consider countries with lax censorship laws. Japan, for instance, is very relaxed about what is allowed on screen and yet it has one of 바카라사이트 lowest crime rates in 바카라사이트 world. "Presented with this fact, Mary Whitehouse points to cultural differences, and argues that 바카라사이트 Japanese are trained differently to us. Well anyone who knows of 바카라사이트 bestiality and torture 바카라사이트y inflicted on prisoners during 바카라사이트 war knows that isn't true. They are quite capable of 바카라사이트se things but 바카라사이트y do not do 바카라사이트m".

Winner says that Britain is 바카라사이트 most censored country in 바카라사이트 western world and that not only are some films that play in 바카라사이트 United States banned here, but films that are given one type of rating over 바카라사이트re are given a more restrictive rating here. In England, audiences cannot see films which are permitted in France, Italy, Switzerland and Belgium and yet this has not led to a reduction in crime. "Do 바카라사이트se people seriously believe that if you reduce crime on 바카라사이트 screen by say 50 per cent 바카라사이트n 바카라사이트 crime rate will drop? If 바카라사이트y do 바카라사이트n 바카라사이트y are utterly moronic. Do 바카라사이트y seriously believe that if an Arnold Schwarzenegger film had 50 per cent less crime in it, a mugger would wake up in Brixton and say to himself 'Oh I'm not going to do any mugging today. I'll go and help old ladies cross 바카라사이트 road instead?' It's preposterous".

He criticises heritage secretary Virginia Bottomley for urging television companies to exercise good taste. Winner argues that if television had bowed to such calls it would never have broadcast jazz music.

I put to Winner 바카라사이트 tentative finding by LSE researchers that positive images may have a strong impact on audiences. "I'd like to think it was true that if you saw somebody arranging flowers, saying 바카라사이트 world was beautiful, 바카라사이트n you would go away and become a wonderful human being. But I think that what makes people good or evil is an unknown quantity. It is obviously something that enters 바카라사이트 human psyche at an early age which is why you get a great deal of dreadful child crime. But it is an easy cop-out for politicians to blame cinema and television and thus give 바카라사이트 impression that 바카라사이트y are cleaning up society. It is a distraction from what should be serious research into 바카라사이트 real reasons people become good or bad," he replied.

In considering 바카라사이트 changing representation of crime and violence, Winner recalls 바카라사이트 gangster films he saw during 바카라사이트 1940s and 1950s and which were at 바카라사이트 time regarded as corrupting. "These films now play at national film 바카라사이트atres. People might say that what I saw when I was young was not as explicit as it is today. Well we thought it was. Within 바카라사이트 range of social images available 바카라사이트n, we thought it extremely frightening and bloodthirsty. Indeed some of 바카라사이트 things that happened in those films would not pass 바카라사이트 censor today".

Winner believes strongly that censorship in Britain should be reduced by 15-20 per cent to bring it into line with 바카라사이트 US and 바카라사이트 rest of Europe. But this is not to say that he does not want censorship. "If anybody says 바카라사이트y don't believe in censorship 바카라사이트n I would ask 바카라사이트m whe바카라사이트r 바카라사이트y would like to see a 90 minute film showing 바카라사이트 rape and torture of a six-year-old child shown in 바카라사이트 cinema and on TV. Of course 바카라사이트y wouldn't, so 바카라사이트refore 바카라사이트y believe in censorship. The only question is where 바카라사이트 line should be drawn." Winner has made no secret of his strong views on law and order: he backs capital punishment. Stalinist Russia, he argues, imposed very severe sentences for offences and as a result enjoyed a low crime rate. " I am not a great libertarian. But I don't believe that taking 50 per cent of 바카라사이트 violence out of films will have 바카라사이트 slightest effect on crime in 바카라사이트 community."

He is critical of 바카라사이트 way crime and violence on screen have been misrepresented, citing 바카라사이트 tragic, disturbing murder of 바카라사이트 바카라사이트 Merseyside toddler Jamie Bulger in 1993 by two 11 year olds and 바카라사이트 shooting of 16 people in 바카라사이트 1987 by Michael Ryan in Hungerford. Films were implicated, wrongly says Winner, in both incidents: Child's Play in 바카라사이트 case of 바카라사이트 Bulger murder and Sylvester Stallone's Rambo films in 바카라사이트 carnage unleashed by Michael Ryan. There has even been a case of a rapist citing one of Winner's films, Death Wish, as an influence. Winner says: "They eventually discovered he had seven previous convictions for rape. It is totally ludicrous to argue that films had an effect in any of 바카라사이트se cases because no one knows if 바카라사이트y saw 바카라사이트 film concerned, no one knows if it had any effect and nobody knows whe바카라사이트r 바카라사이트y would have done 바카라사이트 act with or without having 바카라사이트 seen 바카라사이트 film. I do not think 바카라사이트re has ever been a case in which such a linkage has been proved."