The phrase "a violent vision of" is correct and usable in written English.
It can be used to describe a strong or intense mental image or idea that is associated with violence or aggression.
Example: "The artist's latest work presents a violent vision of a dystopian future, filled with chaos and destruction."
Alternatives: "a brutal depiction of" or "a fierce portrayal of".
From his 1940s masterpiece Three Studies for Figures at the Base of a Crucifixion to Triptych – August 1972, in which he broods on the suicide of his lover George Dyer, a violent vision of a godless universe poisons Bacon's triptychs.
He holds the view that Berg laced the work with private memories, reminiscences of a clandestine love affair, and even a violent vision of death itself, during which the solo line leaps to a stratospherically high B, marked fortississimo, in a desperate cry for help.
He holds the view that Berg laced the work with private memories, reminiscences of a clandestine love affair, and even a violent vision of death itself, during which the solo line leaps to a stratospherically high B, marked fortississimo_,_ in a desperate cry for help.
The discussion ends when Roland experiences a violent vision and has what seems to be a fit.
But that film's world was almost cosy compared to that depicted in Michôd's follow-up The Rover, a bleak and extremely violent vision of earthly hell in a dystopian future.
It's from within the enabling, ennobling, and ostensibly sane frameworks of their business ventures that they find ways to pursue destructive and violent visions of godlike transcendence.
His thoughts darkened, drifting toward violent visions of being beaten or set on fire.
An ultra-violent vision of vengeance rendered with impeccable control, Oldboy features incest, an octopus swallowed live, and a bit of amateur dentistry that either provokes nervous laughter or a swift exit from the theater.
The book's power rests in the gorgeous and near-biblical language in a violent hellscape vision of the Wild West.
In this scene, with her cinematographer, Dean Semler, Ms. Jolie manages the tricky feat of creating a chaotically violent vision, in which the focus remains intently on those who, in many war movies, are often an afterthought: the women.
One of the most popular TV shows worldwide broadcasts a gory, violent, cannibalistic vision of a zombie apocalypse.
