Dave Pollard at How to Save the World¹ writes a post questioning society’s attraction to violent entertainment media, he asks:
“What’s going on here? Why, when we could be going to movies or plunking down in front of the TV to laugh with people, to be charmed and delighted by funny characters delivering clever lines, are we instead going to laugh at people who behave offensively, who act ridiculously, and who insult and demean others? Why, when we could be uplifted by stories of courage and indomitable human spirit, do we instead choose to see stories of unimaginable brutality, anguish, relentless horror and suffering, often without resolution or redemption? Why, rather than piquing our imaginations with what they don’t show, do today’s popular films use grisly hyper-realistic graphics and special effects that leave nothing to the imagination? We’re still coy about the depiction of sex in films, so why are we so blatant and vulgar in the depiction of extreme violence?”
I presume the attraction of violent entertainment is simply as a metaphor for our lives. The metaphor speaks to the non-physically violent raping that all of our minds have been subjected to year in and year out, from birth to death, by powerful corporatists intent on subjecting us to: their minds and their rule and their daily pick-pocketing; surely a kinder and gentler form of warfare.
While we may not have been violently murdered, the invisible butterfly wings we were all given at birth, and for some of us which were eloquently described in the U.S. Declaration of Independence, particularly the phrase about the un-alienability of each of our respective pursuits of Happiness, have been sliced away from many of us in a way similar to a violent murder, and arguably more cruelly than to simply have killed us quickly and to have been done with the matter.
Since great masses of people are hosts to a few powerful parasites, and since killing the hosts typically kills the parasites, the parasites seek the opposite, extending our lives so they can continue in their ways. Like the metaphor of vampire, the parasite seeks to suck our blood without actually killing us — but altering us — so that they can receive sustenance from each of us everyday, and so they can live their powerful lives of darkness and power, an ability which is multiplied exponentially with more hosts.
When one thinks about the metaphor of violence with this pattern, one may realize that coyness surrounding sex in movies serves the same metaphor. Sex, as fundamentally a reproductive act when performed between heterosexuals, simply perpetuates the aforementioned parasite-host relationship from one generation to the next, so coyness regarding sex could be reflective of a communal sub-conscious desire to not reproduce, even when, at the individual level, one’s own body signals powerful reinforcements and one’s mind rationalizes that it is only through reproduction that survival is guaranteed. But that guarantee is really nothing more than a promise to the potential child-to-be that they, too, will be subjected to the same, or perhaps improved, parasitical methods that ultimately lead to a denial of Happiness, and therefore reproduction represents little more than a passing of parasite-host misery from one generation to the next.
I presume that a population that loves violent metaphors has experienced great psychological warfare wreaked against it. As metaphor, it is familiar.