COMMUNICATION OF VIOLENCE IN CINEMA

THE CASE OF THE FILM LES AILES DE L'AMOUR BY ABDELHAÏ LARAKI

Abstract

Violence is inherent in man's existence. It is creative and destructive. From violence arises a life, a soul and a work of art. And it is violence that subverts order, sows chaos and dislocates bonds. Violence is the justification for an impetuous act. It can be both cause and effect. On the other hand, violence can convey a message of anger, dissatisfaction, rebellion, love and others, as it can be a message itself. This notion, given its importance, is one of the centers of interest of several artistic disciplines, from rock art to modern art. The seventh art, on the other hand, is no exception and makes violence a subject to be treated and a means to deal with other subjects. As cinema is a means of audiovisual communication, it makes the image, staging techniques, and new technologies a whole communicative arsenal to attack the notion of violence. However, when we hear about violence in cinema, we think at first of all of American action films, horror films or epic adventure films that illustrate the fight between good and evil through physical, verbal and psychological violence. Thus, the communication of violence in cinematographic art is faced with a clash: violence and counterviolence are linked according to a causal link constituting a vicious circle where action produces a reaction that in turn becomes an action stimulating a reaction. Abdelhaï LARAKI in his film Les Ailes de l'Amour makes violence not only the product of injustices prevailing in society, but also a means of communication that makes image, music, off-camera, and lighting channels allowing the dissemination of the director's message. Between violent communication in the plot, the communication of violence within a microsociety represented by the spatial framework and the message that the director communicates to the spectators, should we not ask ourselves about the forms of violent communication within LRAKI's work? Doesn't the image convey a violent message to the viewer? Aren't the various crises the product of failed crisis communication? These are the questions we will try to answer in our intervention entitled: Communication of violence in cinema: The case of the film Les Ailes de l'Amour by Abdelhaï LARAKI.