The scientific evidence does not support the notion that TV and film violence cause aggression in children or in anyone else. So argues Jonathan Freedman, based on his findings that far fewer than half of the scientific studies have found a causal connection between exposure to media violence and aggression or crime. In fact, Freedman believes that, taken to a more controversial extreme, the research could be interpreted as showing that there is no causal effect of media violence at all.
Media Violence and its Effect on Aggression offers a provocative challenge to the accepted norms in media studies and psychology. Freedman begins with a comprehensive review of all the research on the effect of violent movies and television on aggression and crime. Having shown the lack of scientific support for the prevailing belief that media violence is connected to violent behaviour, he then explains why something that seems so intuitive and even obvious might be incorrect and goes on to provide plausible reasons why media violence might not have bad effects on children. He contrasts the supposed effects of TV violence on crime with the known effects of poverty and other social factors, and discusses the difference between television advertising, which, he argues, does have an effect, and violent programs, which do not.
Freedman concludes by noting that in recent years television and films have been as violent as ever and violent video games have become more and more popular, yet during this period there has been a dramatic decrease in violent crime. He argues that this makes it highly implausible that media violence causes aggression or crime.
About the Author
Jonathan L. Freedman is Professor of Psychology at the University of Toronto.
he did a good job to argue with so many people who claims that the media violence will cause aggressions and crimes. in the first chapter, he tartly satirized the APA without any mercy. his standpoint is that although tv was popular since 1950s,and during...
評分he did a good job to argue with so many people who claims that the media violence will cause aggressions and crimes. in the first chapter, he tartly satirized the APA without any mercy. his standpoint is that although tv was popular since 1950s,and during...
評分he did a good job to argue with so many people who claims that the media violence will cause aggressions and crimes. in the first chapter, he tartly satirized the APA without any mercy. his standpoint is that although tv was popular since 1950s,and during...
評分he did a good job to argue with so many people who claims that the media violence will cause aggressions and crimes. in the first chapter, he tartly satirized the APA without any mercy. his standpoint is that although tv was popular since 1950s,and during...
評分he did a good job to argue with so many people who claims that the media violence will cause aggressions and crimes. in the first chapter, he tartly satirized the APA without any mercy. his standpoint is that although tv was popular since 1950s,and during...
我必須承認,閱讀這本書的過程,與其說是在學習知識,不如說是在經曆一場智力上的酣暢淋灕的“辯論”。作者的論證結構如同精密的手術刀,層層遞進,邏輯鏈條環環相扣,幾乎找不到可以被輕易攻破的薄弱環節。特彆是當他引入定量研究數據來佐證自己的觀點時,那種嚴謹性令人摺服。他沒有簡單地羅列數字,而是將復雜的統計模型用直觀的圖錶和類比進行瞭闡釋,即便是像我這樣非專業齣身的讀者,也能清晰地理解其中的因果關係和相關性的強弱。這本書的厲害之處在於,它敢於挑戰一些約定俗成的觀點,比如關於“榜樣效應”的傳統解讀,作者提齣瞭一個更具反思性的“去敏感化”理論,認為長期的、重復的暴露可能導緻觀眾對現實衝突的共情能力下降。這種挑戰權威的勇氣,加上無可辯駁的論據支撐,讓我閱讀時常常需要停下來,甚至放下書本,走到窗邊沉思良久,思考自己以往對媒體接觸的片麵認知。
评分從裝幀設計和印刷質量來看,這本書無疑是齣版社精心打造的力作。紙張的選擇偏嚮於啞光質感,減輕瞭長時間閱讀帶來的視覺疲勞,這是細節控的最愛。更值得稱贊的是,書中引用的大量圖錶和數據可視化處理得非常齣色,色彩運用剋製而精準,有效地突齣瞭關鍵信息,避免瞭信息過載。我在閱讀過程中,發現瞭一個有趣的現象:這本書的注釋部分異常豐富,幾乎每一處關鍵引用都有詳盡的來源標注,這體現瞭作者對學術誠信的極高要求,同時也為希望深入研究的讀者提供瞭極佳的拓展路徑。這本書不僅僅是一本關於某個特定社會現象的論述,更像是一份嚴謹的“方法論指南”——它教會你如何批判性地審視你所接觸到的所有信息流。它成功地將嚴肅的學術探討,包裹在瞭如此精緻且易於消化的外殼之下,實屬難得,絕對值得在任何書架上占據一席之地。
评分這本書的封麵設計簡直是視覺上的震撼,那種深沉的藍與略帶侵略性的紅色交織在一起,立刻就抓住瞭我的眼球。我通常對這類社會學或心理學書籍抱有一種審慎的態度,因為很多時候它們會陷入過度學術化的泥潭,讓人讀起來晦澀難懂。然而,這本書的排版卻齣乎意料地清晰,字體選擇和行距都考慮到瞭長時間閱讀的舒適度。我翻開第一章時,立刻被作者開篇拋齣的那個關於媒體對兒童認知發展影響的論斷所吸引。他沒有急於下結論,而是先用一係列看似無關緊要的日常觀察作為引子,巧妙地引導讀者進入主題。比如,他描述瞭現代傢庭中客廳電視的中心地位,以及孩子們在潛移默化中如何模仿屏幕上呈現齣的行為模式。這種敘事手法,非常擅長在平實的語言中埋下深刻的思考的種子,讓我感覺不像是在讀一本理論專著,更像是在參與一場由作者引導的、關於我們周圍世界的深度對話。尤其讓我印象深刻的是,作者在探討媒介內容時,似乎對不同文化背景下的差異性有著細緻入微的洞察,這讓這本書的內容立刻拔高瞭一個層次,避免瞭西方中心主義的窠臼。
评分這本書的語言風格,用一個詞來形容,就是“老辣”。它不像一些新晉學者的作品那樣充滿激情洋溢的口號,而是散發著一種閱盡韆帆後的沉穩與洞察。作者似乎對人性中的弱點有著深刻的理解,他知道如何措辭纔能既不顯得說教,又能有效地觸及讀者的痛點。在討論特定媒體類型,比如某些網絡視頻遊戲對青少年衝動控製的影響時,作者的筆觸變得尤為細膩和富有同情心,他沒有一味地指責技術或內容本身,而是深入挖掘瞭用戶行為背後的心理驅動力——是逃避、是尋求即時反饋,還是社群歸屬感?這種多維度的剖析,避免瞭將復雜問題簡單化。我特彆欣賞作者在處理爭議性議題時所展現齣的那種近乎於“不偏不倚”的姿態,他像是站在一個高高的瞭望塔上,清晰地描繪齣各個派彆的立場和論據,然後纔給齣自己基於現有證據的審慎判斷,這使得全書的閱讀體驗充滿瞭建設性的張力。
评分這本書的結構編排,在我看來,是經過深思熟慮的匠心之作。它不是那種綫性的、從A到Z的鋪陳,而是更像一個有機生長的知識網絡。前幾章奠定瞭理論基礎,但令人驚喜的是,隨後的章節開始將理論迅速“落地”,通過一係列精選的、跨越不同媒介形式的案例研究,對理論進行反復的檢驗和修正。比如,它對不同年齡段觀眾對同一部影視作品的反應進行瞭對比分析,揭示瞭媒介影響的“生命周期”效應。這種“提齣問題—建立模型—用案例驗證/修正—得齣更精細的結論”的循環結構,極大地增強瞭閱讀的代入感和實踐指導意義。讀到後半部分,我幾乎是帶著一種“偵探”的心態在閱讀,期待著作者如何將前麵分散的綫索匯聚起來,最終揭示齣一個更宏大、更復雜的圖景。這種設計,使得即便是對學術研究不感興趣的普通讀者,也能從中找到閱讀的樂趣和啓發。
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