It is quite often that extreme measures are taken to achieve this; violence in film. Three main categories of violent-oriented films that this paper will discuss are westerns, war movies, and American cities/society violence (deviant behavior of citizens).
The American Heritage Dictionary defines violence as; Physical force exerted for the purpose of violating, damaging, or abusing. This is a pattern for any film's alleged, "bad guy." It is the extreme which the "bad guy" uses this force that is the cause of so much public back-lash against filmmakers. This did not however deter them in achieving their visions. We know however that war is violent, so what other genres need to include such violent subject matter I like to look at violence as three separate categories.
The emergence of western films was a direct result for the desire to bring the understanding of man and his existence within society to the screen. Several cultural issues, as well as family issues, self morality, labor concerns, and foreign policy are clearly depicted in these films (VAC, pp176-191). The exploration of the west brought about new forms of living and also new forms of violence and deviation from the norms of society. And as the examples in this paper reveal, people today are still fascinated with the idea that western stars don't always do the right thing, but are heroes in the end. Many western films create situations where one man, or a group of men, is tested and tried by the rest of society.
In 1969, Sam Peckinpah released his film, The Wild Bunch. William Holden and Ernest Borgnine starred in this bloody western that literally left the dirt streets on the screen stained with blood. The grim standoffs in this film let way for a flood of directors to try their hand at creating the horrors of life. This is just one of Peckinpah's films known for its truly realistic and reinterpreted vision of the dying West in the early 20th century. Its unrelenting, bleak tale tells of aging, scroungy outlaws (the 'wild bunch') bound by a private code of honor, camaraderie and friendship, but they find that they are at odds with the society of 1913. The lone band of men led by Pike Bishop (William Holden) have come to the end of the line and no longer are living under the same rules in the Old West. They are relentlessly being stalked by bounty hunters, one of whom is Pike's former friend Deke Thornton (Robert Ryan), who would rather side with the outlaws if it weren't for the threat of being sent back to Yuma Prison. The outlaws represent an un-idealized version of the 'western' Japanese samurai warriors in Akira Kurosawa's epic The Seven Samurai (1954) - a film that Peckinpah used as a model.
The anti-heroic 'bunch' also represents