By making the distinctions, we are better equipped to understand what violent movies say about the nature of crime, law, and criminals; we are also better able to understand them as films.
This is somewhat of the author's intervention, albeit, not a strong one. I think it's great that we can see this from the author's interpretation of the objects, but I wanted more here. What more can we take from this? What can we theorize about the need to constantly see this rhetoric in film?