Do Video Games Contribute to Violence Among the Youth - Free Essay Example

There are quite a few contributing factors that are considered when looking at childhood aggression. The main factors surround media violence. Violent media depicts intentional attempts by individuals to inflict harm on others. An individual can be a nonhuman cartoon character, a real person, or anything in between (EFFECTS ON VIOLENT VIDEO GAMES). Forms of violent media are video games. Violence in games has been an ongoing social issue in our time. Grand Theft Auto, Call of Duty, and other well-known games have been negatively impacting the youth. Studies have supported the effects being left on children and adolescents who interact with these games. It can change mind functioning which can lead to reckless behavior and contribute to aggression. American Psychological Association argues that video games cannot cause behavior problems and that there is insufficient evidence supporting the link that extends to criminal violence or delinquency (APA CITE).With supported evidence, it will be shown that video games does contribute to violence among the youth. As video games become more popular, society spends more time engaging in these games. Grand Theft Auto grants players the ability to kill, solicit, and steal. In the games, players are reward to carry out these actions. In Call of Duty, players are rewarded for killing others. These players also acquire extensive knowledge on guns and ammunition. Iowa State Universitys study on rewarding such behaviors believe that people who play video games that reward violence show higher levels of aggressive behavior and aggressive cognition. Reward game violence might also yield more positive attitudes toward and beliefs about using aggression to resolve real-world conflicts (REWARDING ARTICLE). Playing games in excess can encourage kids and teens to act out in a violent and aggressive manner. In games where the only objective is killing, they can be trained to handle situations aggressively. It alters their cognitive thinking and if done long enough, becomes embedded into their subconcious. Repeatedly playing these games also aid in their desensitization to real life situations, as well. A study defined video games as a reduction of emotion-related physiological reactivity to real violence (DESENSITIZATION ARTICLE). Games like those stated previously contain blood, explosives, screaming, and corpses. This type of exposure can cause this desensitization. This study helped support that video games desensitize its players which makes them more likely to commit a violent act. Playing too much might convince the audience that violence is enjoyable. Kids and teens could view this type of violence as a form of entertainment which can be displayed in their daily lives. Karen Sternheimers research study after the Columbine shooting was administered to see if school shooters were playing a game called Doom excessively. Her results showed that the students that carried out the fatal shooting were habitual players of violent video games (KAREN S. ARTICLE). This study helped strengthen the link between the video games and the desensitization to real-world issues that we carry over into our daily lives. The video game, Doom, was licensed by the United States military to have their own versions called Marine Doom and Americas Army as a recruitment tool to train soldiers (Reagan). The game is a first-person shooter that consists of a team of four soldiers that have to carry out a rescue mission and destroy enemies. This game is still used in our present day in some a reas to help soldiers train. Habitual playing of these games for an adolescent or child would have a negative outcome which is shown in Sternheimers study.   Playing in abundance can negatively affect social behaviors in three ways. First, children lack empathy. They are unable to comprehend and understand another persons feelings. Second, they lack the ability to interact. Video games can be viewed as protection from the outside world. It reduces their opportunities to go out and interact. With video games being highly addicting, it makes it difficult to practice developing good interpersonal skills. In these games where your importance is defined by ranking or leaderboard placement, it becomes hard to apply that to your real life which is why children sometimes struggle. Lastly, they struggle with dealing with conflict. Due to the fact that aggressive and violent behaviors are rewarded in video games, kids might find themselves exhibiting that behavior as their first form of conflict management. The study by effect on behavior_ shows us that childrens cognitive thinking is altered which causes them to lack in these areas. Children also suffer with health issues from excessive play. Sleep deprivation and addiction are common issues among kids that play video games. Psychology Today refers to this as wired and tired. Two main factors for the sleep deprivation when playing are unnatural brightness of the screen and electromagnetic radiation (EMR). The intense brightness disturbs circadian rhythms and also does damage to the eyes. The level of EMR in the electronic devices disrupt the bodys melatonin release (Dunckley, Wired and tired). Addiction is a common result of habitual play with children. Time and effort is constantly invested in these games which cause these kids to become addicted. Aggressive behavior, poor social skills, and many others are negative results of excessive video gaming. These games reward kids for carrying out violent acts which cause kids to be more aggressive in their lives. It also desensitizes children and increases their chances of creating violent acts. With these games as forms of entertainment, kids view violence as enjoyable. Such views pose as a problem when it is carried over into the real world. Video games have been viewed as a contributing factor to school shootings. It also contributes to social and health issues among the youth. Kids are not able to develop interpersonal relationships due to addiction to these games and lack of time with others in real-life. Evidence supports that video games do contribute to violence among the youth.

Premier of Ontario Contact Information

Email Form Email Addresspremierontario.ca Mailing AddressThe Honourable Kathleen WynnePremier of OntarioLegislative Building, Queens ParkToronto, OntarioCanada M7A 1A1 Phone Number(416) 325-1941

The World War Was A Global War - 2537 Words

The Second World War was a global war that lasted from September 1st 1939 to May 8th 1945. The Second World War was the most destructive and controversial wars in history and involved more than 100 million people, over 30 countries. The war involved the vast majority of the world’s nations including the Great Powers which eventually formed into opposing military alliances: the Allied Powers consisting of Germany, Italy and Japan and the Axis Powers consisting of Russia, Britain and France. In many respects the Second World War was believed to be Hitler’s war, after the invasion of Poland using the Blitzkrieg (lightning war) tactics in 1939. However, this early success came to an end when Nazi Germany and its Allies fought the Soviet†¦show more content†¦The birth of the Blitzkrieg, meaning lightning war was a term used to describe the fast passed surprise attacks of the German Army during World War Two. The Blitzkrieg military tactic was intended to create psychological shock and subsequent inefficiency in the enemy forces. This tactic was victorious for more than two years through the employment of surprise, speed and superiority in materiel of firepower. In a reliable primary source, British army officer, military historian and strategist, Major General Fuller stated, â€Å"Speed, and still more speed, and always speed was the secret†¦and that demanded audacity, more audacity and always audacity.† (Kaplan, 2015, page 38). This proves that Nazi Germany’s success using the tactic at the beginning of the Second World War was largely due to that fact that it was the only country that had effectively linked its forces with radio communications. Together with the use of movement, shock and locally concentrated firepower, Germany skillfully corresponded attacks that paralysed the opponents capacity to organise defenders, rather than attempting to physically overcome them allowing the opponents to disturb the system of administration and communications. The Blitzkrieg tactics, disrupted the main enemy’s battle position at the Schwerpunkt (strategy

Society the Film Portrays Essay Example For Students

Society the Film Portrays Essay In this study I will make specific references to Ken Loachs 2002 film Sweet Sixteen, which holds significance in relation to the censorship debate and especially the Censors attitudes towards strong language. Film censorship in any country or context is a multifaceted debate, which when looked at in detail, is as much to do with psychology and politics, as it is the art of film making itself. And if set against the continuingly shifting attitudes and beliefs of our diverse society, the issue of censorship and indeed the modernisation of it, is extremely complex. Therefore, to provide a context for my study to be based within, I will explore the comparisons of both domestic and international censorship and look at the progression of censorship historically. Sweet Sixteen is a powerful drama documentary film with a socialist agenda, which essentially documents the struggle caused by unemployment, deprivation, depression and a black economy of drug dealing in the town of Greenock. The film centres on a local boy approaching his 16th birthday, and seemingly holds immense relevance to other youths of that age bracket in similar situations. Thus, an unfortunate irony is apparent as the British Board of Film Classification (BBFC) certified Sweet Sixteen as an 18 purely based on the strong language within the text, and so 15, 16, 17 year olds are required by law not to view the film. In effect the censors are telling the youths the film portrays, who have no presence in any form of mainstream media that their company is so harmful that they have to be put in the same bracket as pornographers just because of the way they speak. The case put forward by the BBFC focuses on the frequency of the word fuck and the aggressive use of the word cunt. According to the BBFCs 15 rating guidelines There may be frequent use of strong language; the strongest terms (eg cunt) are only rarely acceptable. And Continued aggressive use of strong language and sexual abuse is unacceptable. Although these are guidelines they do pay little attention to one of the most important factors to do with spoken language, context. Loachs films have always had a very grainy documentary style to them and the actors, although aware of the story line up to the specific scene they are acting, are improvising, so to enhance the realism of the film. Therefore, the strong language used by the actors is purely coincidental to the situations intensity, as it would be in real life. The vast majority of swearing in this sense is used for rhythm or just to stress a sentence out, and thus does not constitute aggressive use. However, there is one scene in the film where the main protagonists Liam step father Stan gives Liam a 7 second beating, during which the f word is used 12 times and the c word is used twice. There is no denial that the language in this scene is used aggressively, but this is the one and only scene in the film that can be criticised for such aggressive use, and I believe the BBFC is going to far in saying that such a scene is going to corrupt 15, 16 and 17 year olds. Especially when such age groups can witness extreme violence where mutilation is commonplace documented in such films as Black Hawk Down where no warning is given about the violence, never mind the poisonous re-writing of Somali history. The BBFC definitely have an issue with their continuity of guidelines and which specific issues are more harmful to children. The censors ignore that this is the way the vast majority of teenagers speak, and especially youths in poorer areas of West coast Scotland such as Greenock. And so, to not have these actors, who were all from the Glasgow area, not speak as they would in the contexts of the film, would be an injustice to the true representation of such characters. .uee068b94c449ab53dd930b1ee3d122ca , .uee068b94c449ab53dd930b1ee3d122ca .postImageUrl , .uee068b94c449ab53dd930b1ee3d122ca .centered-text-area { min-height: 80px; position: relative; } .uee068b94c449ab53dd930b1ee3d122ca , .uee068b94c449ab53dd930b1ee3d122ca:hover , .uee068b94c449ab53dd930b1ee3d122ca:visited , .uee068b94c449ab53dd930b1ee3d122ca:active { border:0!important; } .uee068b94c449ab53dd930b1ee3d122ca .clearfix:after { content: ""; display: table; clear: both; } .uee068b94c449ab53dd930b1ee3d122ca { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .uee068b94c449ab53dd930b1ee3d122ca:active , .uee068b94c449ab53dd930b1ee3d122ca:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .uee068b94c449ab53dd930b1ee3d122ca .centered-text-area { width: 100%; position: relative ; } .uee068b94c449ab53dd930b1ee3d122ca .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .uee068b94c449ab53dd930b1ee3d122ca .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .uee068b94c449ab53dd930b1ee3d122ca .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .uee068b94c449ab53dd930b1ee3d122ca:hover .ctaButton { background-color: #34495E!important; } .uee068b94c449ab53dd930b1ee3d122ca .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .uee068b94c449ab53dd930b1ee3d122ca .uee068b94c449ab53dd930b1ee3d122ca-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .uee068b94c449ab53dd930b1ee3d122ca:after { content: ""; display: block; clear: both; } READ: The way in which Shakespeare dramatizes the prejudices of his own society in the court scene of The Merchant of Venice EssayPaul Laverty the writer of Sweet Sixteen had previously visited many schools, childrens homes and secure units for teenagers, so to research exactly how to represent his characters. In Lavertys introduction to his published screenplay (4/9/02) he recounts a letter persuading the BBFC to change their classification of the film to a 15, in which he states he found many of the subjects of research had seen his and Loachs previous films, namely My Name is Joe, and enjoyed them because of the similarity they presented to the youths own experiences. They recognised their own world reflected back at them via the story and the dilemma of the characters, principally because of the language we used Laverty. Surely this means there has been an injustice to the society being portrayed, as similar teens that had so enjoyed previous films that reflected the society they are familiar with, are not allowed to view this film about 15 to 16 year olds. Paul Laverty, Ken Loach and the executive producer Michelle Poter claim class prejudice suffuses the BBFCs guidelines and the decision to classify Sweet Sixteen an 18. Although to an extent bias, echoing Laverty and Loachs personal socialist views, it does seem to be somewhat correct. Four Weddings and a Funeral which depicts the higher classes and is also expletive rich, holds a rating of 15. Although the characters dont use swear words in the intonation of their speech as with Sweet Sixteen, strong language is used aggressively when the characters are angry. There are obviously far fewer swear words all together in Four Weddings and a Funeral, however, this is simply because the characters being represented do not talk like those in Sweet Sixteen as they have different class backgrounds. In effect the BBFC are promoting a film representing the higher classes as more acceptable for a larger age group to view, thus in relation to strong language, they are holding an elitist view that Standard English is more acceptable than a North West Scotland youth dialect. In terms of language this is a prescriptive perspective on language, meaning that the censors take a view of right and wrong language, or in relevant censorship terms, non-harmful and harmful language, instead of taking into account the context and identity attached to a certain dialect. However, the BBFC is probably at its most liberal at present due to arrange of factors including changing moral standards, increased audience understanding in terms of media analysis, and probably most importantly the internet. The BBFC has certainly changed in relation to its values since being set up in 1912 as the British Board of Film Censors rather than classification. Cinemas were licensed by local authorities and films were classified as suitable for everyone or adults only. Middle ground was introduced in the 20s, recognising that there were some films that children could see under the supervision of parents, however, a lot of films were simply banned instead of classified, usually on moral, blasphemous or political grounds fear of revolution led to banning of Battleship Potemkin (1926) because of its pro-communist slant. In the 70s, the 18 rating was introduced and AA was introduced for 14 plus only. Although class prejudice, morality and political censorships were still enforced by the ruling class, institutions like the Greater London Council (GLC) and the BBC both recognised the changes that had, in reality, been in the air since the mid 1960s, by conducting surveys into public attitudes to censorship and the depiction of sex and violence on film and television. In the 80s the framework became U, PG, 12, 15 and 18 and was also applicable to video retail and rental. In 1982 the Board changed its name from Censors to Classification to acknowledge the fact that, in the vast majority of cases, their role was not to prevent exhibition of films, but to control the audience. Before the 1909 Act, censorship was voluntary in the sense that filmmakers wanted their new medium to be established as a respectable art form. .uee08f5ea0146c0255cf2d6232319d9ef , .uee08f5ea0146c0255cf2d6232319d9ef .postImageUrl , .uee08f5ea0146c0255cf2d6232319d9ef .centered-text-area { min-height: 80px; position: relative; } .uee08f5ea0146c0255cf2d6232319d9ef , .uee08f5ea0146c0255cf2d6232319d9ef:hover , .uee08f5ea0146c0255cf2d6232319d9ef:visited , .uee08f5ea0146c0255cf2d6232319d9ef:active { border:0!important; } .uee08f5ea0146c0255cf2d6232319d9ef .clearfix:after { content: ""; display: table; clear: both; } .uee08f5ea0146c0255cf2d6232319d9ef { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .uee08f5ea0146c0255cf2d6232319d9ef:active , .uee08f5ea0146c0255cf2d6232319d9ef:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .uee08f5ea0146c0255cf2d6232319d9ef .centered-text-area { width: 100%; position: relative ; } .uee08f5ea0146c0255cf2d6232319d9ef .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .uee08f5ea0146c0255cf2d6232319d9ef .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .uee08f5ea0146c0255cf2d6232319d9ef .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .uee08f5ea0146c0255cf2d6232319d9ef:hover .ctaButton { background-color: #34495E!important; } .uee08f5ea0146c0255cf2d6232319d9ef .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .uee08f5ea0146c0255cf2d6232319d9ef .uee08f5ea0146c0255cf2d6232319d9ef-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .uee08f5ea0146c0255cf2d6232319d9ef:after { content: ""; display: block; clear: both; } READ: The Crime Film EssayThe Act led to the establishment of the BBFC and then films were either cut or banned fairly frequently when they were deemed unsuitable for the public. This notion of unsuitability has since been fiercely contested as it suggests a very passive and easily influenced public who have decisions made for them as to what is suitable. Examining the discourses of censorship seems to indicate lot about its functions. The following are all quotes from either censors or other groups, ranging from the 50s to recent years: The Exorcist (1973): the most shocking sick-making and soul-destroying work ever to emerge from filmland The Daily Mail.  The Wild One (1954): the police were shown as weak characters and the teenagers did not get the punishment they deserve the BBFC.  Straw Dogs (1971): if anyone tries to re-enact this, god help Britain.- The Sunday Times.  Crash (1996): this film is about sexual autoeroticism a movie beyond the bounds of depravity The Evening Standard. All these quotes hold recurring connotations of a passive audience who do not have the textual understanding to view these films as art or a personal perspective of art. They show how in the past the press have referred to taboo films in a Hollywood style, using sensationalist terms like soul-destroying, god help Britain and beyond the bounds of depravity, which is very ironic. The BBFCs comments assume that because The Wild One does not reflect a morally sound system, youths will be influenced into re-enacting crimes shown on the cinema screen.  However, more recently the press and the BBFC have modernised their opinions and therefore their discourse, to account for the increasingly media aware audience that transcends our society.