Rape in Art Cinema

Rape in Art Cinema

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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.
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Product details

  • Paperback | 258 pages
  • 156 x 234 x 13mm | 367g
  • New York, United States
  • English
  • black & white illustrations
  • 1441109773
  • 9781441109774
  • 2,181,788

Table of contents

Introduction: Why Rape?; Dominique Russell; I. Canonical Works and Auteurs; 1. Screen/Memory: Rape and Its Alibis in Last Year at Marienbad Lynn A. Higgins, Comparative Literature, Dartmouth College; 2. Kurosawa's Rashomon and Oshima's The Man Left His Will on Film Eugenie Brinkema, Modern Culture and Media, Brown University; 3. Bunuel: Stories, Desire and the Question of Rape Dominique Russell; 4. Materiality and Metaphor: Rape in Anne Claire Poirier's Mourir a tue-tete and Jean-Luc Godard's Weekend Shana MacDonald, Communication and Culture, York University; 5. Rape and Marriage: Die Marquise von O and Breaking the Waves Victoria Anderson, Visual Cultures, Goldsmiths College, University of London; 6. Rough Awakenings: Unconscious Women and Rape in Kill Bill and Talk to Her Adriana Novoa, Humanities, University of South Florida; II. English-Language Independent Cinemas; 7. Jane Campion's Women's Films: Art Cinema and the Postfeminist Rape Narrative Shelley Cobb, School of Film and Television, University of East Anglia; 8. Boys Don't Get Raped Aim J. Cahill, Philosophy, Elon University; 9. "If it Was a Rape, Then Why Would She Be a Whore?" Rape in Todd Solondz' Films Michelle E. Moore, English, College of DuPage; III. Case Study: Cinema brut and The New French Extremists; 10. "Typically French"?: Mediating Screened Rape to British Audiences Martin Barker, Dept. of Theatre, Film and Television Studies, University of Aberystwyth; 11. On Watching and Turning Away: Ono's Rape, cinema direct Aesthetics and the Genealogy of cinema brut Scott MacKenzie, Cinema Studies Institute/Dept. of French, University of Toronto; 12. Uncanny Horrors: Male Rape in Bruno Dumont's Twentynine Palms Lisa Coulthard, Theatre and Film, UBC; 13. Sexual Trauma and Jouissance in Baise-Moi Joanna Bourke, Professor of History, Birkbeck College, University of London; 14. Shame and the Sisters: Catherine Breillat's A ma soeur! (Fat Girl) Tanya Horeck, Communication, Film and Media, Anglia Ruskin University; Notes on Contributors.
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About Dominique Russell

Dominique Russell has taught at a number of Canadian universities, including the University of Western Ontario, York, Brock, and the University of British Columbia. She is the author of numerous articles on film sound and Spanish and Latin American cinema, including publications in Jumpcut, Canadian Journal of Film Studies, Studies in Hispanic Cinemas, and Literature Film Quarterly.
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