Continuing Sterling's comments on stylised violence: One of the most interesting cases of stylised violence I have seen occurred in _Henry: Portrait of a Serial Killer_, particularly in the earlier scenes of the movie when Henry is sitting, having coffee in a diner. As Henry walks back to the car, the soundtrack of the murders of the people in the diner he has just left is imposed over the image. This technique forced the viewer to reconstruct the images of the murders - having to fit the pictures with the sound, bringing the act of murder into the private realm. In this case, the victims were totally anonymous but the horror was in the way that the viewer was *forced* (I use this term guardedly) into contributing to the crime. Similarly, in _Reservoir Dogs_, the strong, emotive aspects of the violence there was not the TYPE of violence (gunshot) but the MANNER in which that violence occured. The sheer quantity of the killings that took place on that day, coupled with the motif of pace and motion, gives the effect of ceaseless, open-ended destruction as did Henry's random, spontaneous acts of brutal violence. In _Henry_, the locus of the horror became the mundane, further bringing his brutality into the realm of 'us'.