Book reVieWS DAViD STerriTT A Grammar of Murder: Violent Scenes and Film Form by Karla Oeler Death in Classical Hollywood Cinema by Boaz Hagin The connection between movies and mortality has been close, consistent, and intense from the early days of film, and two thoughtful new books study the relationship from complementary perspectives. Karla Oelerâs thesis in A Grammar of Murder: Violent Scenes and Film Form is that key aspects of cinematic structure were more or less born in blood. Think of William S. Porterâs The Great Train Robbery (1903) firing a pistol at the audience, and Sergei Eisensteinâs Strike (1925) intercutting a massacre and a slaughterhouse, and Vsevelod Pudovkinâs book Film Technique and Film Acting (1929/1933) illustrating montage aesthetics by way of a pointed revolver and a frightened face. Murder and movies continued their evolution hand in hand, Oeler argues, explaining why killers, killings, and the killed have played central roles throughout film history. Boaz Hagin draws on a wider range of philosophical sources in Death in Classical Hollywood Cinema, exploring the moral and ethical values of mainstream pictures that seek, purposefully or not, to portray death as a meaningful part of life, or at least of
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A Grammar of Murder: Violent Scenes and Film Form
Sterritt, David
Follow Film Quarterly
, Volume 65 (2)
University of California Press – Dec 1, 2011
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