Narrating Violence in Post-9 11 Action Cinema: Terrorist by Berenike Jung

By Berenike Jung

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Additional resources for Narrating Violence in Post-9 11 Action Cinema: Terrorist Narratives, Cinematic Narration and Referentiality in ''V for Vedetta'', ''Munich'', and ''Children of Men''

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2. The myth of the vigilante provides an ambivalent frame and justification for V’s violence. The myth sets up the syntactic expectation related to the significance of violence as normative solution, as well as the cultural significance of the Western as a catalyst of contemporary conflicts of values and attitudes. ” The following section will examine terrorism and torture as two other prominent forms of violence in the film. With the aid of Just War Theory, a case can be made for V’s use of terrorist violence.

E. 6 We are prepared and encouraged to consider V the hero. Notwithstanding some potential reservations with regards to the excessive elements of his violence, V remains coded as hero and the figure of audience identification until the torture scene. During the torture sequence, the viewer shares Evey’s point of view. Like her, we have only limited knowledge of the circumstances of her predicament and are shocked to discover the true identity of her torturer. After the torture, Evey leaves. She literally disappears from the screen.

For the most part however, the vigilante logic applies to V’s actions. As V’s quest for justice cannot be served by a corrupt government responsible for his abuses in the first place, he has to take matters into his own hands. He thus acts as judge, jury, and executioner, denying his victims the possibility of defense. Law enforcement fails as the villains are themselves identical with the forces of law. The targets of V’s personal vendetta are simultaneously his archenemies and the social evil.

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