Violence in Music Case Study
You are to research this case study by using the readings and clips provided below. This task is worth 20% of your final mark for Outcome 3, Unit 4 Media. Check the marking rubric on Studywiz.
SAC task
Using ALL the resources below to create a broad picture on the issue of media influence on your chosen case study; your task is to present your findings on the following, pertaining to your case study:
The key points to include are:
* What is the issue here? Describe the key viewpoints about the nature and extent of the influence.
*Analyse the arguments surrounding the issue of influence in this case study.
*Discuss what issues arise when assessing media influence.
* What media communication theory (eg; hypodermic needle) can you apply to this instance of media influence? You should link more than one theory and compare/contrast the ways that they apply to the issue of influence. Remember nature and extent!
* Who is the main demographic of audience being influenced?
*Discuss the relationship between the audience and the 'text'.
You can present your findings in any of the following ways:
* An A3 Photoshop poster
* A 4 minute podcast
OR
* Another format negotiated with Shelly
The key points to include are:
* What is the issue here? Describe the key viewpoints about the nature and extent of the influence.
*Analyse the arguments surrounding the issue of influence in this case study.
*Discuss what issues arise when assessing media influence.
* What media communication theory (eg; hypodermic needle) can you apply to this instance of media influence? You should link more than one theory and compare/contrast the ways that they apply to the issue of influence. Remember nature and extent!
* Who is the main demographic of audience being influenced?
*Discuss the relationship between the audience and the 'text'.
You can present your findings in any of the following ways:
* An A3 Photoshop poster
* A 4 minute podcast
OR
* Another format negotiated with Shelly
Saturday, August 28, 2010
The truth about Columbine
Sourced from http://www.nationalreview.com/articles/227327/truth-about-columbine/robert-verbruggen?page=1
Ten years ago today, Eric Harris and Dylan Klebold stormed their high school with bombs and guns. They killed 15 people, including themselves, and injured 23 others, some severely. The nation thought the shooters’ parents were mostly to blame. Adults cast a suspicious eye on high-school-age males who were bullied, played violent video games, listened to Marilyn Manson, took an interest in the macabre, enjoyed shooting guns, or dressed like “Goths.”
Americans had to respond somehow, but at the time they could not respond to the facts: There was little information available, and much of what was available was false. The county police department suppressed and even destroyed key documents, the confusion of the situation spawned many myths, and people’s biases spawned many more.
What exactly happened that day? And what made Harris and Klebold do it? The bigger question here is why: Without understanding shootings like Columbine, it is hard to prevent them. And virtually all the popular explanations of Columbine fall short.
Take, for example, bullying. It is true that Harris and Klebold were teased, and it is further true that Harris composed “hit lists” and threatened, on the Internet and in videos, individuals he felt had wronged him. But in their writings, Harris and Klebold rarely complained about bullying per se, and they took joy in the practice themselves. The massacre’s execution doesn’t square with a bullying motive, either: The bombs would have killed indiscriminately, and of the individuals they named in a video made shortly before the attack, not a single one was shot.
What about access to guns? Michael Moore thought the tragedy a perfect argument for gun control; recounting the facts of how the killers obtained their weapons. But those facts speak volumes. Short of a complete ban, there is no gun-control policy that could have stopped the killers from getting two shotguns, a TEC-9 handgun, and a Hi-Point carbine rifle — though harsher penalties for giving guns to minors could have made the transactions less likely.
The shotguns are common hunting tools, and the handgun and rifle, while they look unusually scary, are no more powerful and fire no more rapidly than other, more common guns. The firearms were purchased legally, and then given to the boys illegally — an adult friend sold Harris his TEC-9, and another adult friend bought the other guns as a straw purchaser at a gun show. (Closing the so-called “gun-show loophole” does not address the latter problem.)
Violent pop culture? The boys chose entertainment that suited their personalities, but it’s hard to say whether their video games, music, or movies made them any worse. Both killers loved the 1993 PC game Doom, where the player runs through various levels shooting demons, which bleed profusely as they collapse. Harris even designed his own Doom creatures, and compared the upcoming shooting to the game. But the game was immensely popular at the time, and if it had some corrupting effect capable of inspiring two people to try to kill hundreds, you’d expect to see a lot more Doom-related killings. Millions of people downloaded the game in its first few years, and Doom — not to mention its two sequels and the entire game genre it launched — remains popular and fun today. More tellingly, an FBI report on school shooters found that only one-eighth of them took an interest in video games.
In terms of music, Harris and Klebold did not listen to Marilyn Manson, but Harris listened to — and quoted in his journals — German industrial-metal bands like KMFDM and Rammstein. Klebold listened to the similar American band Nine Inch Nails, particularly The Downward Spiral. That record, a multiplatinum-selling release, could be interpreted as a concept album whose protagonist experiences various forms of mental anguish, then contemplates and/or commits murder and suicide.
Perhaps the most direct link between popular culture and the Columbine tragedy begins with the movie Natural Born Killers, a tale about a couple that, to the thrill of the press, goes on a senseless murder spree. To an adult, the movie is over-the-top in its gore and rather blunt about its message: By sensationalizing violence, the American media encourage it, and that’s a bad thing. The killers certainly planned the event as a media spectacle, and even referred to the plan as “NBK.” Without the movie, the initials would have been different, but what else?
The boys may have watched Natural Born Killers, but the bigger problem is that they were natural-born killers.
Harris was almost certainly a psychopath — he had a massive superiority complex, he hated authority, he lied pathologically, he simulated empathy perfectly without feeling it, and he was charming enough to talk his way out of just about any situation. He managed to plunge deep into a disturbing mindset without too many others catching on: Thanks to better medical care, humanity was no longer susceptible to natural selection, a situation that needed fixing; modern humans were “robots” going through the motions of existence; Hitler and the Nazis had the right idea; he could get things started by topping Timothy McVeigh’s body count.
Klebold had a different personality and a different problem, but he complemented Harris. Klebold was depressed, more suicidal than homicidal. He was typically reserved and shy, though he was prone to occasional outbursts of anger. He frequently wrote of killing himself, and until near the end he seemed to think of “NBK” as a fantasy. Harris, who dominated the relationship, seems to have brought the weaker, indifferent Klebold around.
When minors are this disturbed, it falls on two institutions to protect society from harm: parenthood and the government.
The parents “remain a mystery” — they do few media interviews — but both killers came from intact two-parent households, with no indication of abuse or neglect. Harris’s father, a Marine, is depicted as a strict parent, but one willing to protect his son against consequences in the outside world — one of Eric’s friends’ moms saw the other side of the boy, but the elder Mr. Harris figured she was overreacting. Harris’s mother stayed at home until the boy was in middle school. The Klebolds come off as a rich couple who went to pains not to spoil their children (though in a different section, the author mentions that Dylan drove a BMW).
When Eric and Dylan were caught breaking into a van and stealing electrical equipment a year before the massacre — they enjoyed going on “missions” like these, sneaking out at night and damaging property — all four parents were furious, and both boys were grounded for a month. They were forbidden to see each other, and Harris lost his computer privileges. Harris’s father evaluated six candidates before choosing a therapist for Eric.
What’s more interesting is the government’s response: Eric and Dylan sought entry into the “Diversion” program, and both were accepted. Their three felonies could have cost them several years in prison and a fine, but instead, Harris and Klebold would meet with a counselor and perform community service. Harris passed with rave reviews. Klebold didn’t do nearly as well, letting his school grades and his attendance at the program’s meetings slip, but passed all the same.
Both boys were bright kids without criminal records, so this may not seem out of the ordinary. But Judy Brown — that concerned mother of one of Eric’s friends — had been in touch with the police repeatedly about Eric. She’d provided a print-out of Eric’s website, on which he made specific, violent threats, including against her son. The website also detailed the “missions” and described building explosives in a way that matched a pipe bomb that had been found near Eric’s house. A search warrant was drawn up around the time the boys started Diversion, but it was never executed, and those responsible for sorting out the van break-in never got wind of it.
There’s no telling what would have happened if Eric had gone to prison instead of going through Diversion and continuing at Columbine. There’s no known treatment for psychopathy, and he may well have come out with better bomb-making skills. But it’s clear that the police came into contact with a very real threat and did nothing about it. They covered up their knowledge after the fact.
If there’s one lesson to learn from Columbine, it’s perhaps that citizens and policymakers should not jump to conclusions based on anecdotes. Ten years later, public shootings have not ceased, and those questions are as important as ever.
News report on Columbine massacre
Consider how this series of news reports and newspaper articles might influence it's audience. They suggest that Rammstein's music directly influenced the two gunmen; using a media communication theory to justify your argument, think about whether this is fair and accurate journalism, or just a fear-mongering technique.
Rammstein's film clip for Du Hast
Rammstein is often referred to when discussing the issue of violence in music influencing the youth of today. Is this argument justified?
Marilyn Manson's film clip for Beautiful People
Consider whether you feel influenced in any way when watching this clip. Is Marilyn Manson setting out to influence the audience? Are arguments suggesting this music influenced two teenage gunmen to kill their classmates justified?
Michael Moore interviews Marilyn Manson for Bowling For Columbine
Michael Moore's documentary, Bowling For Columbine, focuses on the Columbine school shootings and whether the influence that 'violent music' had on the gunmen was the reason for their violent act, or whether there are other things in society more negatively influential.
Violence in Music
Sourced from http://ehlt.flinders.edu.au/education/DLiT/2003/Group1/music.htm
Music wakes us up in the morning, makes us want to dance, soothes us when we're feeling sad and grates on some folks nerves in the elevator. From infancy to adulthood it is an integral part of our lives. Teenagers become absorbed in songs they believe help better define them into this rocky transition into adulthood.
Paediatricians who have specialised in adolescent medicine are keenly aware of how crucial music is to a teen's identity and how it helps them define important social and sub cultural boundaries, teens listen to on average 40 hours of music per week.
Whilst looking at music lyrics, in the past 4 decades, lyrics have become increasingly explicit particularly with reference to Drugs, sex, sexual violence etc. And the greatest concern in music lyrics is Heavy Metal and Rap genres often the songs "as they compound the environment in which dome adolescents increasingly are confronted with pregnancy, drug use, AIDS and other sexually transmitted diseases, injuries, homicide and suicide'.
To date no studies have documented a cause and effect relationship between sexually explicit or violent lyrics and adverse behavioural effects, however there is an acknowledged overall effect that music has an effect on people. If it didn't have an effect on people in general there would be no point listening to it.
American Statistics show (in music lyrics) Forty-seven percent (47%) of mothers with children in public schools believe that violent messages in rap music contribute "a great deal" to school violence, and 66% of 13- to 17-year-olds believe violence in music is partly responsible for violent crimes like the 1999 Columbine High School shootings.
Again studies have shown "that the preference for heavy metal music may be a significant indicator for alienation, substance abuse, psychiatric disorders, suicide risks, sex-role stereotyping, or risk-taking behaviours during adolescence" however a hypothesis also shows that "teenagers already struggling with those issues may be attracted to heavy metal music, because the lyrics express their own troubled feelings."
The 90's have seen the development of an "anything goes" mentality. Look back to the 50's and think "If parents in the 50s didn't like Elvis' gyrating hips, those same people would be astounded" with today's film clips. The with the popularity of dedicated music channels and programs such as MTV, Channel V, Rage, Video Hits and Fly some of the videos shown on them not only show film clips that contain violent lyrics that for example degrade women, but we also get to see it acted out in full colour. There have been a handful of experimental studies that indicate music videos may have a significant behavioural impact by desensitising violence and by making teenagers more likely to approve of premarital sex. "Music Television (MTV) redefined music for future generations by creating music videos, and the unique fusion between rock music and visual images continues to be a hit. A 1996 study revealed that boys and girls ages 12 to 19 watch MTV for an average of 6.6 and 6.2 hours each week, respectively. But despite music videos' popularity among adolescents, many adults criticise the medium as studies show that music videos often contain violence, sexism, suicide and substance abuse. A 1998-1999 study revealed that music videos were more violent than feature films and television, averaging four violent scenes each, and a 1997 study reported that 22.4% of MTV videos contained overt violence and 25% depicted weapon carrying."
"When music lyrics are illustrated in music videos, their potential impact is magnified. Teenagers who may not "hear" or understand rock lyrics cannot avoid the often disturbing images that characterise a growing number of videos music videos are self-reinforcing: if viewers hear a song after having seen the video version, they immediately "flash back" to the visual imagery in the video. Music videos may represent a relatively new art form, but it is one that often contains an excess of sexism, violence, substance abuse, suicides, and inappropriate sexual behaviour."
Today the music business, like much of the rest of the entertainment industry, is facing fallout from youth violence they are being held responsible and in 1999 the music industry was being held accountable for the high school shooting in Littleton, Colorado. "Artists, executives and labels are being called to account for what some perceive as the impact violent lyrics may have on impressionable young minds.
While the issue has been at the forefront of the music industry for several years, it reached a crisis point most recently when the names of two rock bands surfaced in the aftermath of Littleton.
The two teen-age suicidal assailants in the massacre reportedly listened to Rammstein, an industrial-metal group based in Germany, and KMFDM -- one of the first big-selling industrial-rock bands, formed in Paris in 1984."
From this it is evident that the music industry is aware that there could be a proven link to violence in music and their music videos, however, no studies have ever proved this.
Music wakes us up in the morning, makes us want to dance, soothes us when we're feeling sad and grates on some folks nerves in the elevator. From infancy to adulthood it is an integral part of our lives. Teenagers become absorbed in songs they believe help better define them into this rocky transition into adulthood.
Paediatricians who have specialised in adolescent medicine are keenly aware of how crucial music is to a teen's identity and how it helps them define important social and sub cultural boundaries, teens listen to on average 40 hours of music per week.
Whilst looking at music lyrics, in the past 4 decades, lyrics have become increasingly explicit particularly with reference to Drugs, sex, sexual violence etc. And the greatest concern in music lyrics is Heavy Metal and Rap genres often the songs "as they compound the environment in which dome adolescents increasingly are confronted with pregnancy, drug use, AIDS and other sexually transmitted diseases, injuries, homicide and suicide'.
To date no studies have documented a cause and effect relationship between sexually explicit or violent lyrics and adverse behavioural effects, however there is an acknowledged overall effect that music has an effect on people. If it didn't have an effect on people in general there would be no point listening to it.
American Statistics show (in music lyrics) Forty-seven percent (47%) of mothers with children in public schools believe that violent messages in rap music contribute "a great deal" to school violence, and 66% of 13- to 17-year-olds believe violence in music is partly responsible for violent crimes like the 1999 Columbine High School shootings.
Again studies have shown "that the preference for heavy metal music may be a significant indicator for alienation, substance abuse, psychiatric disorders, suicide risks, sex-role stereotyping, or risk-taking behaviours during adolescence" however a hypothesis also shows that "teenagers already struggling with those issues may be attracted to heavy metal music, because the lyrics express their own troubled feelings."
The 90's have seen the development of an "anything goes" mentality. Look back to the 50's and think "If parents in the 50s didn't like Elvis' gyrating hips, those same people would be astounded" with today's film clips. The with the popularity of dedicated music channels and programs such as MTV, Channel V, Rage, Video Hits and Fly some of the videos shown on them not only show film clips that contain violent lyrics that for example degrade women, but we also get to see it acted out in full colour. There have been a handful of experimental studies that indicate music videos may have a significant behavioural impact by desensitising violence and by making teenagers more likely to approve of premarital sex. "Music Television (MTV) redefined music for future generations by creating music videos, and the unique fusion between rock music and visual images continues to be a hit. A 1996 study revealed that boys and girls ages 12 to 19 watch MTV for an average of 6.6 and 6.2 hours each week, respectively. But despite music videos' popularity among adolescents, many adults criticise the medium as studies show that music videos often contain violence, sexism, suicide and substance abuse. A 1998-1999 study revealed that music videos were more violent than feature films and television, averaging four violent scenes each, and a 1997 study reported that 22.4% of MTV videos contained overt violence and 25% depicted weapon carrying."
"When music lyrics are illustrated in music videos, their potential impact is magnified. Teenagers who may not "hear" or understand rock lyrics cannot avoid the often disturbing images that characterise a growing number of videos music videos are self-reinforcing: if viewers hear a song after having seen the video version, they immediately "flash back" to the visual imagery in the video. Music videos may represent a relatively new art form, but it is one that often contains an excess of sexism, violence, substance abuse, suicides, and inappropriate sexual behaviour."
Today the music business, like much of the rest of the entertainment industry, is facing fallout from youth violence they are being held responsible and in 1999 the music industry was being held accountable for the high school shooting in Littleton, Colorado. "Artists, executives and labels are being called to account for what some perceive as the impact violent lyrics may have on impressionable young minds.
While the issue has been at the forefront of the music industry for several years, it reached a crisis point most recently when the names of two rock bands surfaced in the aftermath of Littleton.
The two teen-age suicidal assailants in the massacre reportedly listened to Rammstein, an industrial-metal group based in Germany, and KMFDM -- one of the first big-selling industrial-rock bands, formed in Paris in 1984."
From this it is evident that the music industry is aware that there could be a proven link to violence in music and their music videos, however, no studies have ever proved this.
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