ABSTRACT
A three-fold taxonomy of aesthetic violence in film begins with the minimal aesthetic of excessive mayhem: “mega-violence.” It signifies great quantities of violence which can create an aesthetically charged experience, especially when structured rhythmically. Hyper-violence focuses upon the sensuous surface of physical destruction, for example, by enlarging the spatter of blood or vivifying its pattern. Surrealistically portrayed violence is characterized by beauty and gravity-defying dance instead of brutal blood-letting and lethal destruction. The actions of the characters defy the laws of gravity and the limits of the human body.
