Tim Robbins and Susan Sarandon implore the nation to treat Haitians with AIDS more humanely. Robert Redford works for the environment. Harry Belafonte marches against the death penalty.
Actors and producers seem to be constantly speaking out for noble causes far removed from their lives. They seem even more vocal and visible now that there is a Democrat in the White House. But in the one area over which they have control–the excessive violence in the entertainment industry–Hollywood activists remain silent.
This summer, Washington was abuzz with talk about the movie Dave, in which Kevin Kline stars as the acting president. But every time I saw an ad featuring Kline, the movie I couldn’t get out of my head was Grand Canyon. There are two scenes in it that explain much of what has gone wrong in America.
Kline’s character has a friend, played by Steve Martin, who is a producer of the B-grade, violent movies that Hollywood euphemistically calls “action” films. But after an armed robber shoots Martin’s character in the leg, he has an epiphany.
“I can’t make those movies any more,” he decides. “I can’t make another piece of art that glorifies violence and bloodshed and brutality. . . . No more exploding bodies, exploding buildings, exploding anything. I’m going to make the world a better place.”
A month or two later, Kline calls on Martin at his Hollywood studio to congratulate him on the “new direction” his career has taken.
“What? Oh that,” Martin says dismissively. “Fuck that. That’s over. I must have been delirious for a few weeks there.”
He then gins up every hoary excuse for Hollywood-generated violence you’ve ever heard, ending with: “My movies reflect what’s going on; they don’t make what’s going on.”
This is Hollywood’s last line of defense for why it shows murder and mayhem on the big screen and the little one, in prime time and early in the morning, to children, adolescents, and adults:
We don’t cause violence, we just report it.
Four years ago, I joined the legion of writers, researchers, and parents who have tried to force Hollywood to confront the more disturbing truth. I wrote a series of newspaper articles on the massive body of evidence that establishes a direct cause-and-effect relationship between violence on television and violence in society.
The orchestrated response from the industry–a series of letters seeking to discredit me–was something to behold.
Because the fact is, on the one issue over which they have power, the liberals in Hollywood don’t act like progressive thinkers; they act like, say, the National Rifle Association:
Guns don’t kill people, people kill people.
We don’t cause violence in the world, we just reflect it.
The first congressional hearings into the effects of television violence took place in 1954. Although television was still relatively new, its extraordinary marketing power was already evident. The tube was teaching Americans what to buy and how to act, not only in advertisements, but in dramatic shows, too.
Everybody from Hollywood producers to Madison Avenue ad men would boast about this power–and seek to utilize it on dual tracks: to make money and to remake society along better lines.
Because it seemed ludicrous to assert that there was only one area– the depiction of violence–where television did not influence behavior, the television industry came up with this theory: Watching violence is cathartic. A violent person might be sated by watching a murder.
The notion intrigued social scientists, and by 1956 they were studying it in earnest. Unfortunately, watching violence turned out to be anything but cathartic.
In the 1956 study, one dozen four-year-olds watched a “Woody Woodpecker” cartoon that was full of violent images. Twelve other preschoolers watched “Little Red Hen,” a peaceful cartoon. Then the children were observed. The children who watched “Woody Woodpecker” were more likely to hit other children, verbally accost their classmates, break toys, be disruptive, and engage in destructive behavior during free play.
For the next thirty years, researchers in all walks of the social sciences studied the question of whether television causes violence. The results have been stunningly conclusive.
“There is more published research on this topic than on almost any other social issue of our time,” University of Kansas Professor Aletha C. Huston, chairwoman of the American Psychological Association’s Task Force on Television and Society, told Congress in 1988. “Virtually all independent scholars agree that there is evidence that television can cause aggressive behavior.”
There have been some three thousand studies of this issue–eighty-five of them major research efforts–and they all say the same thing. Of the eighty-five major studies, the only one that failed to find a causal relationship between television violence and actual violence was paid for by NBC. When the study was subsequently reviewed by three independent social scientists, all three concluded that it actually did demonstrate a causal relationship.
Some highlights from the history of TV violence research:
- In 1973, when a town in mountainous western Canada was wired for television signals, University of British Columbia researchers observed first- and second-graders. Within two years, the incidence of hitting, biting, and shoving increased 160 percent in those classes.
- Two Chicago doctors, Leonard Eron and Rowell Huesmann, followed the viewing habits of a group of children for twenty-two years. They found that watching violence on television is the single best predictor of violent or aggressive behavior later in life, ahead of such commonly accepted factors as parents’ behavior, poverty, and race.
“Television violence effects youngsters of all ages, of both genders, at all socioeconomic levels and all levels of intelligence,” they told Congress in 1992. “The effect is not limited to children who are already disposed to being aggressive and is not restricted to this country.”
- Fascinated by an explosion of murder rates in the United States and Canada that began in 1955, after a generation of North Americans had come of age on television violence, University of Washington Professor Brandon Centerwall decided to see if the same phenomenon could be observed in South Africa, where the Afrikaner-dominated regime had banned television until 1975.
He found that eight years after TV was introduced–showing mostly Hollywood-produced fare–South Africa’s murder rate skyrocketed. His most telling finding was that the crime rate increased first in the white communities. This mirrors U.S. crime statistics in the 1950s and especially points the finger at television, because whites were the first to get it in both countries.
Bolder than most researchers, Centerwall argues flatly that without violent television programming, there might be as many as ten thousand fewer murders in the United States each year.
- In 1983, University of California, San Diego, researcher David P. Phillips wanted to see if there was a correlation between televised boxing matches and violence in the streets of America.
Looking at crime rates after every televised heavyweight championship fight from 1973 to 1978, Phillips found that the homicide rate in the United States rose by an average of 11 percent for approximately one week. Phillips also found that the killers were likely to focus their aggression on victims similiar to the losing fighter: if he was white, the increased number of victims were mostly white. The converse was true if the losing fighter was black.
- In 1988, researchers Daniel G. Linz and Edward Donnerstein of the University of California, Santa Barbara, and Steven Penrod of the University of Wisconsin studied the effects on young men of horror movies and “slasher” films.
They found that depictions of violence, not sex, are what desensitizes people.
They divided male students into four groups. One group watched no movies, a second watched nonviolent, X-rated movies, a third watched teenage sexual-innuendo movies, and a fourth watched the slasher films Texas Chainsaw Massacre, Friday the 13th Part 2, Maniac, and Toolbox Murders.
All the young men were placed on a mock jury panel and asked a series of questions designed to measure their empathy for an alleged female rape victim. Those in the fourth group measured lowest in empathy for the specific victim in the experiment–and for rape victims in general.
The anecdotal evidence is often more compelling than the scientific studies. Ask any homicide cop from London to Los Angeles to Bangkok if television violence induces real-life violence and listen carefully to the cynical, knowing laugh.
Ask David McCarthy, police chief in Greenfield, Massachusetts, why nineteen-year-old Mark Branch killed himself after stabbing an eighteen-year-old female college student to death. When cops searched his room they found ninety horror movies, as well as a machete and a goalie mask like those used by Jason, the grisly star of Friday the 13th.
Ask the families of thirty-five young men who committed suicide by playing Russian roulette after seeing the movie The Deer Hunter.
Ask George Gavito, a lieutenant in the Cameron County, Texas, sheriff’s department, about a cult that sacrificed at least thirteen people on a ranch west of Matamoros, Mexico. The suspects kept mentioning a 1986 movie, The Believers, about rich families who engage in ritual sacrifice. “They talk about it like that had something to do with changing them,” Gavito recalled later.
Ask LAPD lieutenant Mike Melton about Angel Regino of Los Angeles, who was picked up after a series of robberies and a murder in which he wore a blue bandanna and fedora identical to those worn by Freddy, the sadistic anti-hero of Nightmare on Elm Street. In case anybody missed the significance of his disguise, Regino told his victims that they would never forget him, because he was another Freddy Krueger.
Ask Britain Home Secretary Douglas Hurd, who called for further restrictions on U.S.-produced films after Michael Ryan of Hungerford committed Britain’s worst mass murder in imitation of Rambo, massacring sixteen people while wearing a U.S. combat jacket and a bandoleer of ammunition.
Ask Sergeant John O’Malley of the New York Police Department about a nine-year-old boy who sprayed a Bronx office building with gunfire. The boy explained to the astonished sergeant how he learned to load his Uzi-like firearm: “I watch a lot of TV.”
Or ask Manteca, California, police detective Jeff Boyd about thirteen-year-old Juan Valdez, who, with another teenager, went to a man’s home, kicked him, stabbed him, beat him with a fireplace poker, and then choked him to death with a dog chain.
Why, Boyd wanted to know, had the boys poured salt in the victim’s wounds?
“Oh, I don’t know,” the youth replied with a shrug. “I just seen it on TV.”
Numerous groups have called, over the years, for curbing television violence: the National Commission on the Causes and Prevention of Violence (1969), the U.S. Surgeon General (1972), the Canadian Royal Commission (1976), the National Institute of Mental Health (1982), the U.S. Attorney General’s Task Force on Family Violence (1984), the National Parents Teachers Association (1987), and the American Psychological Association (1992).
During that time, cable television and movie rentals have made violence more readily available while at the same time pushing the envelope for network TV. But even leaving aside cable and movie rentals, a study of television programming from 1967 to 1989 showed only small ups and downs in violence, with the violent acts moving from one time slot to another but the overall violence rate remaining pretty steady–and pretty similar from network to network.
“The percent of prime-time programs using violence remains more than seven out of ten, as it has been for the entire twenty-two-year period,” researchers George Gerbner of the University of Pennsylvania Annenberg School for Communication and Nancy Signorielli of the University of Delaware wrote in 1990. For the past twenty-two years, they found, adults and children have been entertained by about sixteen violent acts, including two murders, in each evening’s prime-time programming.
They also discovered that the rate of violence in children’s programs is three times the rate in prime-time shows. By the age of eighteen, the average American child has witnessed at least eighteen thousand simulated murders on television.
By 1989, network executives were arguing that their violence was part of a larger context in which bad guys get their just desserts.
“We have never put any faith in mechanical measurements, such as counting punches or gunshots,” said NBC’s Alan Gerson. “Action and conflict must be evaluated within each specific dramatic context.”
“Our policy,” added Alfred R. Schneider of ABC, “. . . makes clear that when violence is portrayed [on TV], it must be reasonably related to plot development and character delineation.”
Of course, what early-childhood experts could tell these executives is that children between the ages of four and seven simply make no connection between the murder at the beginning of a half-hour show and the man led away in handcuffs at the end. In fact, psychologists know that very young children do not even understand death to be a permanent condition.
But all of the scientific studies and reports, all of the wisdom of cops and grief of parents have run up against Congress’s quite proper fear of censorship. For years, Democratic Congressman Peter Rodino of New Jersey chaired the House Judiciary Committee and looked at calls for some form of censorship with a jaundiced eye. At a hearing five years ago, Rodino told witnesses that Congress must be a “protector of commerce.”
“Well, we have children that we need to protect,” replied Frank M. Palumbo, a pediatrician at Georgetown University Hospital and a consultant to the American Academy of Pediatrics. “What we have here is a toxic substance in the environment that is harmful to children.”
Arnold Fege of the national PTA added, “Clearly, this committee would not protect teachers who taught violence to children. Yet why would we condone children being exposed to a steady diet of TV violence year after year?”
Finally there is a reason to hope for progress.
Early this summer, Massachusetts Democrat Edward Markey, chair of the House Energy and Commerce subcommittee on telecommunications, said that Congress may require manufacturers to build TV sets with a computer chip so that parents could block violent programs from those their children could select.
He joins the fight waged by Senator Paul Simon, a liberal Democrat from Illinois. Nine years ago, Simon flipped on a hotel television set hoping to catch the late news. “Instead,” he has recalled many times, “I saw a man being sawed in half with a chainsaw, in living color.”
Simon was unsettled by the image and even more unsettled when he wondered what repeatedly looking at such images would do to the mind of a fourteen-year-old.
When he found out, he called television executives, who told him that violence sells and that they would be at a competitive disadvantage if they acted responsibly.
Why not get together and adopt voluntary guidelines? Simon asked.
Oh, that would be a violation of antitrust law, they assured him.
Simon called their bluff in 1990 by pushing through Congress a law that allowed a three-year moratorium on antitrust considerations so that the industry could discuss ways to jointly reduce violence.
Halfway through that time, however, they had done nothing, and an angry Simon denounced the industry on the Senate floor. With a push from some prominent industry figures, a conference was set for this August 2 in Los Angeles.
This spring, CBS broadcast group president Howard Stringer said his network was looking for ways to cut back on violence in its entertainment, because he was troubled by the cost to society of continuing business-as-usual.
“We must admit we have a responsibility,” he said.
Jack Valenti, the powerful head of the Motion Picture Association of America, wrote to producers urging them to participate in the August 2 conference. “I think it’s more than a bunch of talk,” Simon said. “I think this conference will produce some results. I think the industry will adopt some standards.”
The federal government, of course, possesses the power to regulate the airwaves through the FCC, and Simon and others believe that this latent power to control violence–never used–has put the fear of God in the producers. He also thinks some of them are starting to feel guilty.
“We now have more people in jail and prison per capita than any country that keeps records, including South Africa,” Simon says. “We’ve spent billions putting people behind bars, and it’s had no effect on the crime rate. None. People realize there have to be other answers, and as they’ve looked around, they have settled on television as one of them.”
Maybe Simon is right. Maybe Hollywood executives will get together and make a difference.
Or maybe, like Steve Martin’s character in Grand Canyon, producers and directors from New York to Beverly Hills will wake up after Simon’s antitrust exemption expires December 1, shake off the effects of their holiday hangovers, and when asked about their new commitment to responsible filmmaking, answer:
“What? Oh that. Fuck that. That’s over. We must have been delirious for a few weeks there.”
Carl M. Cannon is the White House correspondent for the Baltimore Sun.