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More than any other filmmaker, Sam Peckinpah opened the door for graphic violence in movies. In this book, Stephen Prince explains the rise of explicit violence in the American cinema, its social effects, and the relation of contemporary ultraviolence to the radical, humanistic filmmaking that Peckinpah practiced.
Prince demonstrates Peckinpah's complex approach to screen violence and shows him as a serious artist whose work was tied to the social and political upheavals of the 1960s. He explains how the director's commitment to showing the horror and pain of violence compelled him to use a complex style that aimed to control the viewer's response.
Prince offers an unprecedented portrait of Peckinpah the filmmaker. Drawing on primary research materials—Peckinpah's unpublished correspondence, scripts, production memos, and editing notes—he provides a wealth of new information about the making of the films and Peckinpah's critical shaping of their content and violent imagery. This material shows Peckinpah as a filmmaker of intelligence, a keen observer of American society, and a tragic artist disturbed by the images he created.
Prince's account establishes, for the first time, Peckinpah's place as a major filmmaker. This book is essential reading for those interested in Peckinpah, the problem of movie violence, and contemporary American cinema.
- Sales Rank: #2367921 in Books
- Published on: 1998-01-01
- Original language: English
- Number of items: 1
- Dimensions: 9.02" h x .64" w x 5.98" l, 1.08 pounds
- Binding: Paperback
- 304 pages
From Library Journal
Prince (communications, Virginia Tech) looks at the theme of violence in Peckinpah's films and his influence on the ultraviolent filmmakers of today. Peckinpah made films in the 1960s, not coincidentally a time when the Vietnam War, urban riots, political assassinations, antiwar violence, and rising street crime were appearing on home television screens. In The Wild Bunch, Peckinpah thought extreme movie violence would have a cathartic effect, leaching away the audience's aggressive drives. But in most of Peckinpah's mature films, violence has negative consequences, and the pain of the survivors is obvious. This is completely different from today's ultraviolent movies, with their cartoonish depictions of death and mayhem. Much of the book discusses the cinematic techniques Peckinpah used to make the audience aware of the moral implications of the character's actions. Highly recommended for academic collections.AMarianne Cawley, Charleston Cty. P.L., SC
Copyright 1998 Reed Business Information, Inc.
Review
"...an extraordinary work ...beautifully written ...Prince has recuperated Peckinpah's reputation as one of the most important artists of the postwar American cinema-perhaps the crucial link between late classical and postmodern Hollywood." (David A. Cook, Director, Film Studies Program, Emory University, and author of History of Narrative Film)
Review
"...an extraordinary work ...beautifully written ...Prince has recuperated Peckinpah's reputation as one of the most important artists of the postwar American cinema-perhaps the crucial link between late classical and postmodern Hollywood." (David A. Cook, Director, Film Studies Program, Emory University, and author of History of Narrative Film)
Most helpful customer reviews
7 of 7 people found the following review helpful.
An Unusual Take on Peckinpah
By Michael Samerdyke
Savage Cinema surprised me. Usually, books on Peckinpah focus on his relationship with the Western genre and put The Wild Bunch as his chief accomplishment.
Savage Cinema, however, looks at Peckinpah's relationship with violence and focuses instead on Straw Dogs, Pat Garrett and Billy the Kid, and Bring Me the Head of Alfredo Garcia. Ride the High Country and Major Dundee are barely mentioned, and Stephen Prince viewed The Wild Bunch as something that Peckinpah had grown past in these three later films.
The result was a book that viewed Peckinpah through a fresh set of eyes, instead of one that plowed over the same ground. I found the book very fascinating and convincing. The reason I gave it four stars instead of five is that Prince's chapter on the use of montage became hard for me to follow. But apart from that, this is a very interesting book that shows how Peckinpah was a major filmmaker and different from the "ultraviolence" of today's cinema.
6 of 6 people found the following review helpful.
A significant, insightful work
By 4thDegree
Prince doesn't get the fifth star only because the book is a little underwritten in parts (like the conclusion), and because I feel his analysis of "Straw Dogs", while well-intentioned and mostly solid, seems a little unbalanced with regard to David Sumner (Hoffman). Nevertheless, this is a a MUST-HAVE for students of Peckinpah and/or cinematic violence. Particularly fascinating is Prince's unique view of "Peckinpah's great trilogy on the toxic nature of violence" (re: "Straw Dogs", "Pat Garrett and Billy the Kid", and "Bring Me the Head of Alfredo Garcia"), which represents a significant breakthrough in the literature. The freshness and clarity of 90 percent of this book make it worthwhile, and the other 10 percent is still readable. Don't expect Vonnegut, after all this is a critical volume. Highly recommended to students and cinephiles.
4 of 4 people found the following review helpful.
Thought-Provoking and Meticulous
By A Customer
This book tells in great detail the relationship of violence in Sam Peckinpaugh's films and it's predecessors today. While I would recommend it to Peckingpaugh fans, critically-minded and socially-aware Hollywood types, and for academic purposes, this book is a little lengthy and tedious for those seeking a quick and easy read. Thought-provoking and meticulous.
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