Abstract
The paper titled "Rape: To Show or Not to Show – That Is the Question" undertakes a comprehensive exploration of the rape-revenge subgenre, aiming to dissect the sensationalised portrayal of rape within films. Integrating cinematic analysis with scholarly perspectives from notable figures such as Read (2000), Projansky (2001), Henry (2014) and Heller-Nicholas (2021), the paper navigates the complex landscape of opinions surrounding the depiction of rape on screen. The synthesis of these scholarly viewpoints reveals a lack of consensus among scholars, filmmakers, and viewers regarding the ethical considerations of showcasing rape in films.
However, the paper takes a nuanced approach by shifting the focus onto female-directed rape-revenge films, providing a unique lens to navigate this intricate dilemma. The analysis emphasises that contemporary rape-revenge films helmed by women make deliberate choices in depicting rape, prioritising shorter scenes, flashbacks, and inserts over prolonged and overtly violent sequences reminiscent of films like "The Last House on the Left" (1972) and "I Spit on Your Grave" (1978).
In demonstrating this shift, the paper aims to showcase that female directors are actively redefining the horror of rape-revenge films. By opting for nuanced representations that emphasise the victim's experience, these directors challenge the conventional tropes associated with the subgenre. The paper posits that such choices are integral to the broader objective of denouncing rape culture and systemic sexism. This analysis delves into the implications of these directorial decisions, underscoring the transformative potential of female perspectives in reshaping narratives surrounding sexual violence within the cinematic realm.
However, the paper takes a nuanced approach by shifting the focus onto female-directed rape-revenge films, providing a unique lens to navigate this intricate dilemma. The analysis emphasises that contemporary rape-revenge films helmed by women make deliberate choices in depicting rape, prioritising shorter scenes, flashbacks, and inserts over prolonged and overtly violent sequences reminiscent of films like "The Last House on the Left" (1972) and "I Spit on Your Grave" (1978).
In demonstrating this shift, the paper aims to showcase that female directors are actively redefining the horror of rape-revenge films. By opting for nuanced representations that emphasise the victim's experience, these directors challenge the conventional tropes associated with the subgenre. The paper posits that such choices are integral to the broader objective of denouncing rape culture and systemic sexism. This analysis delves into the implications of these directorial decisions, underscoring the transformative potential of female perspectives in reshaping narratives surrounding sexual violence within the cinematic realm.
| Original language | English |
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| Title of host publication | Falmouth University, UK, in partnership with City University, Hong Kong |
| Publication status | Unpublished - 2024 |
| Event | Sex, Scandal, and Sensation Conference - Falmouth University, UK, in partnership with City University, Hong Kong Duration: 2 Jul 2024 → 4 Jul 2024 |
Conference
| Conference | Sex, Scandal, and Sensation Conference |
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| Period | 2/07/24 → 4/07/24 |