In a cultural moment when professors experience a debilitating hesitancy about initiating difficult conversations with undergraduate students, and the imperative of trigger warnings sometimes outweighs our will to navigate controversial materials, the fate of “violent films,” as worthy of academic study, hangs precariously in the balance. Designing undergraduate film courses that are culturally and politically sensitive to the power structures replicated in cinematic representations, often entails, and understandably so, the excising of explicitly violent cinema. With this essay, however, we contend with ways in which cinematic violence can and, perhaps, should be incorporated into the undergraduate classroom. Our essay, then, might be thought of as a response to the profound question that Zoe Brigley Thompson (2018) asks: “What avenues... are open to the university instructor who seeks to combat oppressive narratives without closing down discussion?” (p. 1). What follows is a detailed illustration of, perhaps even a discursive template for, how to lead a conversation about violent cinema, and an exploration of possible questions that help direct such a conversation. We recognize that this undertaking asks considerably more from our readers than the average film or pedagogy essay might. In a sense, this essay asks readers to endure some of the same things that our class lecture and discussion asks of our students: namely, to dare to not look away from things we would rather not see. Although unpleasant, we believe the discussion to be more than worthwhile given its relevance to large scale conversations about cultural sensitivity and censorship, and innovative film education. Our pedagogical arguments are drawn from our own experience of co-teaching a unit titled “Cinematic Violence and the Dead Body on Screen” which is a part of Anwer’s Honors course, “Evolution of Ideas: Film.” The “Evolution of Ideas” is a mandatory, interdisciplinary course for all freshmen enrolled in Purdue University’s Honors College, and the students opt for one among the array of “flavors”/themes on offer as a part of the

中文翻译：

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为暴力电影辩护：将电影暴力和银幕死亡纳入本科课堂

在这样一个文化时刻，教授们在与本科生展开艰难对话时遇到了令人衰弱的犹豫，触发警告的必要性有时超过了我们浏览有争议的材料的意愿，值得学术研究的“暴力电影”的命运岌岌可危。余额。设计对电影表现中复制的权力结构在文化和政治上敏感的本科电影课程，通常需要，而且可以理解的是，切除明显的暴力电影。然而，在这篇文章中，我们讨论了电影暴力可以并且或许应该被纳入本科课堂的方式。那么，我们的文章可能会被认为是对佐伊·布里格利·汤普森（Zoe Brigley Thompson，2018 年）提出的深刻问题的回应：“什么途径...... 是否对寻求在不关闭讨论的情况下打击压迫性叙述的大学教师开放？” （第 1 页）。下面是一个详细的说明，甚至可能是一个关于如何引导关于暴力电影的对话的论述模板，以及对有助于指导这种对话的可能问题的探索。我们认识到，与一般的电影或教育学论文相比，这项工作对读者的要求要高得多。从某种意义上说，这篇文章要求读者忍受我们的课堂讲授和讨论要求我们的学生做的一些事情：即敢于不把目光从我们不愿看到的东西上移开。尽管令人不快，但我们认为讨论非常值得，因为它与关于文化敏感性和审查制度以及创新电影教育的大规模对话相关。我们的教学论点来自我们共同教授一个名为“电影暴力和银幕上的尸体”单元的经验，该单元是 Anwer 荣誉课程“思想的演变：电影”的一部分。“思想的演变”是普渡大学荣誉学院所有新生的必修跨学科课程，学生在提供的一系列“风味”/主题中选择一个作为课程的一部分