Violence, crime dystopia and the dialectics of (dis)order in The Purge films
Violence, crime dystopia and the dialectics of (dis)order in The Purge films
Crime, Media, Culture, Ahead of Print.
Crime dystopia is the cultural site where some of the most gripping fears around the failure to order, civilise and make life secure are expressed. In The Purge film franchise, crime becomes legal in America for a night each year, when violence and destructive impulses are freely discharged and actively encouraged by the US government. This article proposes a critical discussion of some of the criminological themes in the films, reading the institutionalised carnage of Purge night as a metaphor for the systemic violence of the market and further on for liberal governance as a philosophy of war, scarred by the horror of hidden monsters. It then argues that dystopian aesthetics can obscure the failures and antagonisms of the social order in the present, as well as punctuate anti-utopian fears of the future.
Crime dystopia is the cultural site where some of the most gripping fears around the failure to order, civilise and make life secure are expressed. In The Purge film franchise, crime becomes legal in America for a night each year, when violence and destructive impulses are freely discharged and actively encouraged by the US government. This article proposes a critical discussion of some of the criminological themes in the films, reading the institutionalised carnage of Purge night as a metaphor for the systemic violence of the market and further on for liberal governance as a philosophy of war, scarred by the horror of hidden monsters. It then argues that dystopian aesthetics can obscure the failures and antagonisms of the social order in the present, as well as punctuate anti-utopian fears of the future.
Liviu Alexandrescu