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Brenneman is a student at Loyola Marymount University.

By Anthony Brenneman

After the terrorist strike in New York, everyone took some time to reflect. As reported in the Los Angeles Times on Sept. 13, this contemplation caused the indefinite postponement of Warner Bros. Pictures’ terrorism-themed action thriller “Collateral Damage.” The possible social impact of the film was deemed inappropriate.

This rare instance during which Hollywood admits the possibly harmful implications of its films raises some questions. Will certain material that is now considered inappropriate continue to be produced, or is this a temporary instance of social responsibility? What types of violence or questionable material should we re-think showing and viewing? Do we continue to use media to recklessly present a skewed view of reality and, if so, does such irresponsibility need to be challenged and changed?

Terrorism is defined as some form of violent attack that instills a fear so shocking that it deters us from living our previously free and normal lives. All of us have seen films that have frightened us in some way, causing us to change our behavior – walking to our cars at night, shuddering at the possibility of an unknown intruder in the dark. Film has the indelible power to influence our minds and behavior. There is a kind of terrorism film can create.

The upcoming film “Joy Ride,” for example, unwittingly creates the same fear. The previews tell the tale of two attractive young men traveling across the country to pick up a female friend. Along the way they unintentionally invite a psychotic killer into their lives by pretending to be flirtatious females on a CB radio. They agree to meet him at a hotel, but tell him they are staying in the room next to theirs.

Unfortunately, the people in that room are murdered, thrusting the boys into a horrific game of psychological torture and impending death, tormented by a madman trucker, who somehow also manages to kidnap their girlfriend.

After watching a film such as this one, will we ever take a road trip without subconsciously feeling a bit fearful of someone lurking out there waiting to harm us? When we attempt to escape reality, films like these assault us with a kind of terror that follows long after the last shot fades out.

Some will argue that a movie is “just a movie” or “mere fantasy.” If this were so, why would such images follow us in our daily lives long after we view the films? Some people argue that films merely reflect the fact that murderers exist and a lack of exposure would deny this truth.

However, the many glamorized portrayals of perversely violent people do not portray the reality of psychotic killers and the scope with which they affect our lives. Do we want to pay homage to and assist those “evil” people in terrorizing us by frequently placing them and their exploits on large screens all over our world, for adults and our youth to “enjoy”?

Our television shows and news programs can be equally harmful. They vividly report violent and murderous acts and then just move on to other news without any supporting information. The goal is to sell airtime.

Do we need to be repeatedly unrealistically frightened only to increase the networks’ ratings and profits? Does anyone other than the networks benefit from this?

We are constantly faced with violence in the media, yet blame only the profit motive as the culprit. But what really counts – the bottom line or caring for everyone’s well-being?

In the wake of the tragedy, it has been revealed to be the latter.

Does profit force us to act irresponsibly or do we coerce ourselves to act that way because of our desire for profit? We must reevaluate our values and then use them to direct our actions.

In one of his many speeches, President George W. Bush referred to the dropping of differences, political squabbling and corporate competitiveness to help those in New York as representing the “best of America.”

Why must the best be done only now? Why can’t we change the system and always act for the “best?”

Some people argue that films do not affect our society. However, those who made “Collateral Damage,” for example, spent six years in development and used tons of creative effort and millions of dollars in resources on their film. Yet, regardless of the dollars spent and the possible profit to be made, producers and distributors realized the unhealthy aspects of their creation and acted responsibly: they pulled the film.

Advertising is a multibillion-dollar industry that uses all media to influence people, and we accept this.

Where product placement in films influences buying habits in everyday life, violence placement does likewise and just as effectively and harmfully.

One would think that with such a personal and financial investment, in the time artists spend making films and the dollars investors spend on production, they would market more than just gratuitous violence to humankind.

It is hoped that creative individuals will communicate something more meaningful and the public will want to see something more meaningful as well.

Responsibility for the kinds of films and television programs that we produce must exist in the immediate aftermath of the attacks. However, after public memory fades or slanted coverage reshapes our outlook on the world by instilling anger, hatred, or a desire for material items and then desensitizing us to violence, will we attempt to go back to our old ways?

We as a global community must now hold ourselves more accountable for our actions. The questions for us who accept that responsibility are: How long will that caring last when profit speaks louder than wisdom? Will we see each other as human beings deserving of love and respect, not to be used as a means to profit? Will we allow the cycle to continue?

Fact is stranger than fiction, and the importance of where we stand as a human race is greater than any fantasy that can be dreamed up in a Hollywood studio.

Let us start striving to reflect reality, the one that matters, but which we so often try to escape or do not allow others or ourselves to know exists.

We must all have the courage and conviction to use our work and media in a way that will be unique in history. It will be a demanding process, but we must start that process.

Films or television programs that depict excessive and glamorized violence, misogynist musical lyrics and videos, computer games that offer violence as play, any media that takes the value of a life and treats it lightly, must not be tolerated in a world that rejects terrorism.

As individuals, we must all take the lead.

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