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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.
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
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.
Protecting Your Children from Internet Pornography exposes the many ways that pornography is menacing people, relationships, society, and—especially—our children. Dr. John Foubert’s ability to write about complex concepts in practical terms will help you understand issues like how pornography affects the brain, how pornography is a recipe for sexual violence, and why you should take measures to protect your children and those you love. This scholarly perspective is well balanced by practical suggestions at the end of each chapter that gives parents advice on how to apply the information in their own home. It is time for a national conversation about what pornography is really all about. Foubert’s book opens the door on that discussion and invites the reader to join the battle against porn with greater knowledge of its actual effects. You will be disturbed, shocked, motivated, and empowered to make a difference after reading this book.
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.
First published in 1985. Research into what is usually referred to as mass communication has concentrated on the societal impact of the media. The ways in which these media influence people and affect their behavior have been at issue. For the most part, undesirable effects were pondered and documented. Only a few desirable effects received similar attention and scrutiny. The research preoccupation with impact has been so pronounced that, comparatively speaking, next to no attention has been paid to questions such as why people enjoy whatever they elect to watch or hear, and more fundamentally, why they elect to watch or hear, in the first place, whatever it is that they elect to watch or hear. Without a symposium on research into selective exposure to informative and entertaining messages nor a publication that brought together the recent research in this area, this volume was put together in an effort to end this dilemma and to put selective-exposure research on the map as a significant research venture.
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.
Game of Thrones was an international sensation, and has been looked at from many different angles. But to date there has been little research into its audiences: who they were, how they engaged with and responded to it. This book presents the findings of a major international research project that garnered more than 10,000 responses to an innovative 'qualiquantitative' questionnaire. Among its findings are: a new way of understanding the place and role of favourite characters in audiences’ responses; new insights into the role of fantasy in encouraging thinking about our own world; and an account of two combined emotions – relish and anguish – which structure audiences’ reactions to controversial elements in the series.