The discussion of direct violence, structural violence and cultural violence in this chapter is relatively simple and focuses on the direct violence of murders, the structural violence of Nazi occupation and the restrictions imposed the peasant and cultural violence in Landa's descriptions of Jews as "parasites" (linking them to the bubonic plague), along with symbols that support his role as a murderer, such as the skull and crossbones on his hat. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essayThis chapter also shows us the extent to which the farmer, who ultimately renounces the family he hides, is an actor with freedom Will. This can be seen in two instances, one when the farmer decides to sit down after Landa's statement, "Please join me at your table," and the other when he asks Landa if he can smoke his pipe. The question that now arises is whether the level of cultural and structural violence present in the chapter excludes the possibility of cooperation and assistance from the farmer. Moving on, another question that arises is how the farmer perceived Landa's threats, which were initially quite subdued (commenting on the dairy, the farmer's milk and his family) but progressed to become much more obvious . Returning to the concept of Galtung's violence triangle, the question arises as to how we should classify the various threats in this particular chapter. Are they direct violence (since violence is clearly threatened), structural violence (since they close off possible actions by the farmer), or cultural violence (since they are explicitly communicated)? In my opinion there is no correct answer to this question, as it is evident to us that all three types of violence - direct, cultural and structural - are intertwined with each other, thus further exemplifying Galtung's theory on relationship between types of violence. The scene is clearly written and directed to push our sympathies towards the farmer. Looking at the cultural violence against Jews rooted in the anti-Semitic views of Hitler and the Nazis, we see the way Landa conceptualizes his work of hunting and killing Jews as “work,” in the commercial sense, with records, as well as with the way in which he describes it as a “job” that he was “ordered to do.” He goes further, discussing the “enterprise” which is now under “new management.” Please note: this is just an example. Get a custom paper from our expert writers now. Get a Custom Essay The embedded cultural violence presented in this scene can be looked at another way. The chapter begins by showing us a large, well-built man, profusely sweating, with an ax in his hand: this is the farmer, Monsieur LaPadite. Landa is presented to us as a small but sharp and precise man. Since the two men are alone in the house, threatening such a large and aggressive man could have gone wrong for Landa, but instead LaPadite, despite being threatened indirectly, gives up on the family he is protecting rather than kill Landa and be killed. finished. This clearly indicates the position and fear that Landa holds and commands as “THE JEW HUNTER”.