Screen Studies: Bloomsbury and Faber Screenplays and Criticism - Searc
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Sins of Permission: The Union of Rape and Marriage in Die Marquise Von O and Breaking the Waves

Victoria Anderson

Victoria Anderson

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Rape in Art Cinema

Continuum, 2010

Book chapter

...Heinrich von Kleist's 1807 novella Die Marquise Von O was made into a celebrated and unusually faithful cinematic adaptation of the same name by Eric Rohmer in 1976. The story runs thus: beginning the narrative with a scene in a drinking...

Buñuel: Storytelling, Desire and the Question of Rape

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. Author affiliation details are correct at time of print publication.

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Rape in Art Cinema

Continuum, 2010

Book chapter

...Buñuel is considered cinema's great iconoclast, his films “a scourge to the bourgeoisie.”The expression is Peter Evans'. His overriding themes are power — social, political and domestic — and desire, or as Henry Miller put it, “the bloody...

Materiality and Metaphor: Rape in Anne Claire Poirier's Mourir à tue-tête and Jean-Luc Godard's Weekend

Shana MacDonald

Shana MacDonald

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Rape in Art Cinema

Continuum, 2010

Book chapter

...Cinematic representations of rape foreground the gendered power dynamics inherent in the film medium's institutional structure. While feminist criticism has long pointed out the problematic position of women both on-screen...

Jane Campion's Women's Films: Art Cinema and the Postfeminist Rape Narrative

Shelley Cobb

Shelley Cobb

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Rape in Art Cinema

Continuum, 2010

Book chapter

...In Campion's world, desire always places women in danger — whether the desire is their own or someone else's. The danger, desire, and sex in Jane Campion's In the Cut (Australia/US/UK, 2003) begins with Frannie, the protagonist played...

Shame and the Sisters: Catherine Breillat's À Ma Soeur! (Fat Girl)

Tanya Horeck

Tanya Horeck

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Rape in Art Cinema

Continuum, 2010

Book chapter

...Catherine Breillat's powerful portrayals of heterosexual sex and female desire have earned her a prominent place in the group of directors that have come to be known as the “new French extremists.”James Quandt. “Flesh & Blood: Sex...

Boys Don't Get Raped

Ann J. Cahill

Ann J. Cahill

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Rape in Art Cinema

Continuum, 2010

Book chapter

...Kimberly Peirce's 1999 film Boys Don't Cry (US) chronicles the last few weeks in the short life of Teena Brandon/Brandon Teena, a teenager from Nebraska who was born female; who, for these weeks and at other points in his life, lived...

“If It Was a Rape, Then Why Would She Be a Whore?” Rape in Todd Solondz’ Films

Michelle E. Moore

Michelle E. Moore

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Rape in Art Cinema

Continuum, 2010

Book chapter

...Since Welcometo the Dollhouse (US, 1996), a “painfully funny” portrait of adolescent hell in suburban New Jersey, Todd Solondz has challenged audiences and critics with his increasingly dark comedies. Happiness (US, 1998), Storytelling (US,...

On Watching and Turning Away: Ono's Rape, Cinéma Direct Aesthetics, and the Genealogy of Cinéma Brut

Scott Mackenzie

Scott Mackenzie

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Rape in Art Cinema

Continuum, 2010

Book chapter

...I wonder how men can get serious at all. They have this delicate long thing hanging outside their bodies, which goes up and down by its own will. First of all having it outside your body is terribly dangerous. If I were a man I would have...

Rough Awakenings: Unconscious Women and Rape in Kill Bill and Talk to Her

Adriana Novoa

Adriana Novoa

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Rape in Art Cinema

Continuum, 2010

Book chapter

...Quentin Tarantino and Pedro Almodóvar have both been identified with a hybrid cinema, characterized by the fact that a “prominence of any one genre may vary from one moment to the next.”Ira Jaffe. Hollywood Hybrids: Mixing Genres...

The Fault Lines of Vision: Rashomon and The Man Who Left His Will on Film

Eugenie Brinkema

Eugenie Brinkema

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Rape in Art Cinema

Continuum, 2010

Book chapter

...I The question of rape is always the question of an event. The questioning of an event. The event as a question mark to which no answer can be finally, with finality, appended. The various problems that rape, in turn, poses to criticism...