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.

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.

One ordinary spring morning in Reykjavik, Iceland, Thordis Elva kisses her son and partner goodbye before boarding a plane to do a remarkable thing: fly seven thousand miles to South Africa to confront the man who raped her when she was just sixteen. Meanwhile, in Sydney, Australia, Tom Stranger nervously embarks on an equally life-changing journey to meet Thordis, wondering whether he is worthy of this milestone. After exchanging hundreds of searingly honest emails over eight years, Thordis and Tom decided it was time to speak face to face. Coming from opposite sides of the globe, they meet in the middle, in Cape Town, South Africa, a country that is no stranger to violence and the healing power of forgiveness. South of Forgiveness is an unprecedented collaboration between a survivor and a perpetrator, each equally committed to exploring the darkest moment of their lives. It is a true story about being bent but not broken, facing fear with courage, and finding hope even in the most wounded of places. Personable, accessible, and compelling, South of Forgiveness is an intense and refreshing look at a gendered violence, rape culture, personal responsibility, and the effect that patriarchal cultures have on both men and women.

New from bestselling author Stephanie Perkins, and the perfect companion to her New York Times bestseller There's Someone Inside Your House, available now on Netflix! “The scares here are authentic, and the details meticulous, driven by a smart, distinct narrative voice. Hand this to fans of the film Midsommar who will delight in the eerie world building, the disintegration and rebuilding of interpersonal relationships, and the unseen forces of evil that threaten to break two friends apart.” –Booklist Bears aren’t the only predators in these woods. Best friends Neena and Josie spent high school as outsiders, but at least they had each other. Now, with college and a two-thousand-mile separation looming on the horizon, they have one last chance to be together—a three-day hike deep into the woods of the Pisgah National Forest. Simmering tensions lead to a detour off the trail and straight into a waking nightmare … and then into something far worse. Something that will test them in horrifying ways. Stephanie Perkins, the bestselling author of There’s Someone Inside Your House, returns with a heart-stopping, gut-wrenching novel about friendship, survival, and navigating unmarked paths even as evil watches from the shadows.

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.

Explosive images of sex and violence characterise what has come to be known as the 'new extremism' in contemporary European cinema. This collection of essays is devoted to the new extremism in contemporary European cinema and will critically interrogate t

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.