Russell 2010 Rape

Title Information

Editor: Dominique Russell

Title: Rape in Art Cinema

Subtitle: -

Place: New York, NY

Publisher: Continuum

Year: 2010

Pages: 258pp.

Series: Continuum Film Studies

ISBN-10: 082642967X (hbk.) – Find a Library: Wikipedia, WorldCat

ISBN-13: 9780826429674 (hbk.) – Find a Library: Wikipedia, WorldCat | ISBN-13: 9781441109774 (pbk.) – Find a Library: Wikipedia, WorldCat | ISBN-13: 9781441116147 (ebk.) – Find a Library: Wikipedia, WorldCat

Language: English

Keywords: 20th Century, 21st Century | Representations: Films

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Additional Information

Editor: Editor's Personal Website


  List of illustrations and captions (p. vii)
  Contributors (p. ix)
  Introduction: Why Rape? (p. 1)
Dominique Russell
  I. Canonical Works and Auteurs
  Chapter One   Screen/Memory: Rape and Its Alibis in Last Year at Marienbad (p. 15)
Lynn A.Higgins
  Chapter Two   The Fault Lines of Vision: Rashomon and The Man Left His Will on Film (p. 27)
Eugenie Brinkema
  Chapter Three   Buñuel: Storytelling, Desire and the Question of Rape (p. 41)
Dominique Russell
  Chapter Four   Materiality and Metaphor: Rape in Anne Claire Poirier's Mourir à tue-tête and Jean-Luc Godard's Weekend (p. 55)
Shana MacDonald
  Chapter Five   Sins of Permission: The Union of Rape and Marriage in Die Marquise von O and Breaking the Waves (p. 69)
Victoria Anderson
  Chapter Six   Rough Awakenings: Unconscious Women and Rape in Kill Bill and Talk to Her (p. 83)
Adriana Novoa
  II. English-Language Independent Cinemas
  Chapter Seven   Jane Campion's Women's Films: Art Cinema and the Postfeminist Rape Narrative (p. 99)
Shelley Cobb
  Chapter Eight   Boys Don't Get Raped (p. 113)
Ann J. Cahill
  Chapter Nine   "If it Was a Rape, Then Why Would She Be a Whore?" Rape in Todd Solondz' Films (p. 129)
Michelle E. Moore
  III. Case Study: Cinéma Brut and The New French Extremists
  Chapter Ten   "Typically French"?: Mediating Screened Rape to British Audiences (p. 145)
Martin Barker
  Chapter Eleven   On Watching and Turning Away: Ono's Rape, Cinéma Direct Aesthetics and the Genealogy of Cinéma Brut (p. 159)
Scott MacKenzie
  Chapter Twelve   Uncanny Horrors: Male Rape in Bruno Dumont's Twentynine Palms (p. 171)
Lisa Coulthard
  Chapter Thirteen   Sexual Trauma and Jouissance in Baise-Moi (p. 185)
Joanna Bourke
  Chapter Fourteen   Shame and the Sisters: Catherine Breillat's À Ma Soeur! (Fat Girl) (p. 195)
Tanya Horeck
  Notes (p. 211)
  Index (p. 239)


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.« (Source: Continuum)

Reviews: Henry, Claire. Senses of Cinema No. 64 (September 2012). – Full Text: Senses of Cinema (Free Access)

Added: December 27, 2014 – Last updated: December 27, 2014