A Quote by Robert Bringhurst
The first function of violence in Native American literatures is simply to acknowledge that violence is implicit, like gravity and sunlight, in the world and our relations with the world.
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I must remind you that starving a child is violence. Suppressing a culture is violence. Neglecting school children is violence. Punishing a mother and her family is violence. Discrimination against a working man is violence. Ghetto housing is violence. Ignoring medical need is violence. Contempt for poverty is violence.
Violence maims not only the body but also the mind and spirit. As Pierre Bourdieu has argued, it lies "on the side of belief and persuasion." If we are to counter violence by offering young people ways to think differently about their world and the choices before them, they must be empowered to recognize themselves in any analysis of violence, and in doing so to acknowledge that it speaks to their lives meaningfully.
Most violence is intra-racial, and much of the violence in African-American communities is a function of drug availability, joblessness and poverty.
I think if there was no violence in our world, there would be no violence in film. Violence is a part of human nature, and obviously it's a troublesome part of human nature. You always have responsibilities when you portray violence in what angle you put down on that scene.
They asked if our own nation wasn't using massive doses of violence to solve its problems, to bring about the changes it wanted. Their questions hit home, and I knew that I could never again raise my voice against the violence of the oppressed in the ghettos without having first spoken clearly to the greatest purveyor of violence in the world today-my own government. For the sake of those boys, for the sake of this government, for the sake of hundreds of thousands trembling under our violence, I cannot be silent.
We think of violence as being conflict and fighting and wars and so forth, but the most ongoing horrific measure of violence is in the horrible poverty of the Third World... and the poverty in the United States as well. We have our own Third World here. And we have to first become aware of that and how to help and solve that.
We must realize that violence is not confined to physical violence. Fear is violence, caste discrimination is violence, exploitation of others, however subtle, is violence, segregation is violence, thinking ill of others and condemning others are violence. In order to reduce individual acts of physical violence, we must work to eliminate violence at all levels, mental, verbal, personal, and social, including violence to animals, plants, and all other forms of life.
Any of us who listen to the news or listen to stories our neighbors tell are accustomed to violence. We have to decide then to ignore the violence and create a gentler world in our fiction, or to heighten the violence through the use of point-of-view in order to explore it and gain some insight and understanding. Since I'm living with the violence and trouble in my brain, it's kind of a relief to write about it, to get it on paper, to put it in context, to find meaning in it.
This is a time that calls for extreme restraint. In a world of outright aggression and violence there can be no winners. To respond to violence with counter-violence only throws oil on the fire.
At this crucial crossroads of history, we join to call on the world to recognize that violence begets violence; that nuclear proliferation benefits no one; that we can, we will, and we must find other ways to protect ourselves, our nations and our future: for it is not sufficient to have peace in our time, but, instead, we must leave a peaceful world to our children.
When I first envisioned 'Funny Games' in the mid-1990s, it was my intention to have an American audience watch the movie. It is a reaction to a certain American cinema, its violence, its naivety, the way American cinema toys with human beings. In many American films, violence is made consumable.
My approach to violence is that if it's pertinent, if that's the kind of movie you're making, then it has a purposeI think there's a natural system in your own head about how much violence the scene warrants. It's not an intellectual process, it's an instinctive process. I like to think it's not violence for the sake of violence and in this particular film, it's actually violence for the annihilation of violence.
I'm so sick of seeing guns in movies, and all this violence; and if there was going to be violence in Pines, I wanted it to actually be narrative violence. I wasn't interested in fetishizing violence in any way of making it feel cool or slow-motion violence. I wanted it to be just violence that affected the story.
I am for violence if non-violence means we continue postponing a solution to the American black man's problem just to avoid violence.
I could never again raise my voice against the violence of the oppressed, without having first spoken clearly to the greatest purveyor of violence in the world today – my own government.
The Oriental approach to violence is a much more aesthetic and poetic approach, whereas in the western world, violence is put in because you can't solve the problem. Violence is always the last solution, but unfortunately, in cinema, it's the first solution, because it's easy. And it's often too easy.
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