The Aesthetics of Violence in Selimus



The logo of Francis Ford Coppola’s massively successful 1972 American mob film The Godfather depicts a disembodied hand holding the strings of a marionette (Illustration 9).1 The Godfather offers a grim meditation on the transition of power from father to son. Refusing, like his father before him, ‘to be a fool, dancing on a string held by all those big shots’, Michael Corleone demonstrates a ruthless autonomy as the film’s master-puppeteer. The film’s title carries crucial significance; being the Godfather is about playing God. This association is made all the more explicit in Mario Puzo’s novel, where Vito assumes a God-like omnipotence:

My old man. The Godfather. If a bolt of lightning hit a friend of his the old man would take it personal. […] That’s what makes him great. The great Don. He takes everything personal. Like God. He knows every feather that falls from the tail of a sparrow or however the hell it goes.2


Hand Gesture Aesthetic Experience Inanimate Object Stage Convention Human Body Part 
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Copyright information

© Jenny Sager 2013

Authors and Affiliations

  1. 1.University of NottinghamUK

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