Download Free Watching Rape Book in PDF and EPUB Free Download. You can read online Watching Rape and write the review.

In "Watching Rape", Sarah Projansky undermines the complacent view - that equality for women has already been achieved - in her analysis of depictions of rape in US film, televsion, and independent video. This study addresses the relationship between rape and postfeminism.
Looking at popular culture from 1980 to the present, feminism appears to be "over": that is, according to popular critics we are in an era of "postfeminism" in which feminism has supposedly already achieved equality for women. Not so, says Sarah Projansky. In Watching Rape, Projansky undermines this complacent view in her fascinating and thorough analysis of depictions of rape in U.S. film, television, and independent video. Through a cultural studies analysis of such films as Thelma and Louise, Daughters of the Dust, and She's Gotta Have It, and television shows like ER, Ally McBeal, Beverly Hills 90210, and various made-for-tv movies, Projansky challenges us to see popular culture as a part of our everyday lives and practices, and to view that culture critically. How have media defined rape and feminism differently over time? How do popular narratives about rape also communicate ideas about gender, race, class, nationality, and sexuality? And, what is the future of feminist politics, theory, and criticism with regard to issues of sexual violence, postfeminism, and popular media? The first study to address the relationship between rape and postfeminism, and one of the most detailed and thorough analyses of rape in 25 years, Watching Rape is a crucial contribution to contemporary feminism.
Art cinema has always had an aura of the erotic, with the term being at times a euphemism for European films that were more explicit than their American counterparts. This focus on sexuality, whether buried or explicit, has meant a recurrence of the theme of rape, nearly as ubiquitous as in mainstream film. This anthology explores the representation of rape in art cinema. Its aim is to highlight the prevalence and multiple functions of rape in this prestigious mode of filmmaking as well as to question the meaning of its ubiquity and versatility. Rape in Art Cinema takes an interdisciplinary approach, bringing together recognized figures such as historian Joanna Burke, philosopher Ann J. Cahill, and film scholars Martin Barker, Tanya Horeck and Scott Mackenzie alongside emerging voices. It is international in scope, with contributors from Canada, the U.S. and Britain coming together to investigate the representation of rape in some of cinema's most cherished films.
Often considered the lowest depth to which cinema can plummet, the rape-revenge film is broadly dismissed as fundamentally exploitative and sensational, catering only to a demented, regressive demographic. This second edition, ten years after the first, continues the assessment of these films and the discourse they provoke. Included is a new chapter about women-directed rape-revenge films, a phenomenon that--revitalized since #MeToo exploded in late 2017--is a filmmaking tradition with a history that transcends a contemporary context. Featuring both famous and unknown movies, controversial and widely celebrated filmmakers, as well as rape-revenge cinema from around the world, this revised edition demonstrates that diverse and often contradictory treatments of sexual violence exist simultaneously.
Second-wave feminism fought to end the blanket silence shrouding rape and bring it to public attention. Now feminist critics must confront a different issue. In Public Rape Tanya Horeck considers the public investment in images of rape and the figure of the raped woman. Introducing the idea of 'public rape', Horeck looks at how images of rape serve as cultural fantasies of sexual, racial and class difference. Looking at rape in real life as well as in literature and films such as The Accused and Boys Don't Cry, Horek reveals how representations of rape raise vital questions about the relationship between reality and fantasy, and between violence and spectacle
Rape in Period Drama Television considers the representation of rape and rape myths in a number of the most influential recent television period dramas. Like the corset, has become a shorthand for women's oppression in the past. Sexual violence has long been, and still is, commonplace in television period drama, often used to add authenticity and realism to shows or as a sensationalist means of chasing ratings. However, the authors illustrate that the depiction of rape is more than a mere reminder that the past was a dangerous place for women (and some men). In these series, they argue, rape functions as a kind of “anti-heritage” device that dispels the nostalgia usually associated with period television and reflects back on the current cultural moment, in which the #MeToo and #Timesup movement have increased awareness of the prevalence of sexual abuse, but in which legal and political processes have not yet caught up. In doing so, Rape in Period Drama Television sets out to explore the assumptions and beliefs which audiences continue to hold about rape, rapists, and victims.
This two-volume set provides an authoritative overview of rape and other forms of sexual violence, containing the latest information about victims and perpetrators; events, laws, and trends related to sexual violence; and attitudes toward it. This encyclopedia will help readers to develop a deeper understanding of rape and other forms of sexual violence in the United States and around the world. Content illuminates all aspects of this serious issue, including the forms of trauma experienced by survivors/victims; different types of rape, from incest to acquaintance rape to prison rape; specific cases, events, and controversies; laws, policies, movements, and organizations pertaining to the issue; and legal, political, and cultural contributors to rape and other forms of sexual violence. Encyclopedia of Rape and Sexual Violence follows an A–Z format, but instead of comprising brief overview entries, it features twenty chapters, each of which is a long-form entry that covers key perspectives, laws, court cases, and statistics on survivors/victims and perpetrators. Leading scholars' and activists' perspectives on the subject add depth to the information provided; the set also includes a selection of essential primary documents.
Resisting Rape Culture through Pop Culture: Sex After #MeToo provides audiences with constructive models of affirmative consent, tender masculinity, and pleasure in popular culture that work to challenge toxic dominant and hegemonic constructions. While numerous scholars have illustrated the many ways mediated culture shape social understandings of sexual violence, this book analyzes texts that might serve to resist rape culture. This project locates how these texts manufacture cinematic or televisual narratives and in turn work to create new realities that encourage cultural and social change. Kelly Wilz analyzes the ways in which we, as a culture, tend to understand sex through visual media and dominant cultural myths, while highlighting productive texts which might serve as a possible corrective to the ways in which sex is ritualized by rules that legitimize violence. Through the lens of productive criticism, Wilz examines how language and dominant ideologies around rape culture and rape myths reinforce systemic violence, and how visual texts might work to reimagine how we might disrupt those ideologies and create new ways to engage in conversations around intimacy and violence. By centering the voices within the #MeToo movement, who actively work to de-normalize sexual assault and abuse, these models provide a useful counter to the deluge of dehumanizing narratives about survivors and sexualized violence. Scholars of pop culture, women’s studies, media studies, and social justice will find this book particularly useful.
'Steve Mosby has become one of a handful of writers who make me excited about crime fiction' Val McDermid 'Mosby has become renowned for thrillers that reach into dark places where most British crime writers are afraid to go'Sunday Express 'This isn't some kind of 'Dear John' letter. I'm coming back again'. But Amy Sinclair didn't come back. That note on the kitchen table was the last that her boyfriend, Jason, heard of her. At first, he let her have her space but as the weeks turned to months the worries had set in... and eventually he went after her. What he found appalled him. It seems that Amy had had a secret life on the internet and had met some people she shouldn't have. And one of them took her. Now Jason sits at home and cruises the same horrific websites that she once walked through to find her kidnapper. But when he lays a trap for a monster he meets in a chat-room he gets more than he bargained for. He finds that nothing in this story is as it seems, and that the clues lie in the mistakes of his own past...
Considered a notorious subset of horror in the 1970s and 1980s, there has been a massive revitalization and diversification of rape-revenge in recent years. This book analyzes the politics, ethics, and affects at play in the filmic construction of rape and its responses.