84,89 €
Revisionist Rape-Revenge
Revisionist Rape-Revenge
  • Išparduota
Revisionist Rape-Revenge
Revisionist Rape-Revenge
El. knyga:
84,89 €
Rape-revenge is one of film studies' neglected genres, in spite of the plethora of examples globally over the past decade. Previously considered a notorious subset of 1970s and 1980s horror or exploitation, there has been a massive revitalization and diversification of rape-revenge in recent years. This book updates and redefines the rape-revenge genre, analyzing the politics, ethics, and affects at play in the filmic construction of rape and its responses. Henry examines significant trends in…

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Rape-revenge is one of film studies' neglected genres, in spite of the plethora of examples globally over the past decade. Previously considered a notorious subset of 1970s and 1980s horror or exploitation, there has been a massive revitalization and diversification of rape-revenge in recent years. This book updates and redefines the rape-revenge genre, analyzing the politics, ethics, and affects at play in the filmic construction of rape and its responses. Henry examines significant trends in rape-revenge's temporal, cross-media, and cross-cultural shifts during the genre's revisionist phase through in-depth case studies of films such as The Last House on the Left, Katalin Varga, and Descent. These case studies are placed within the broader cultural myths and media narratives about rape. The book uncovers the current potential and limitations of this under-theorized genre for cultural explorations of political and ethical issues surrounding gender, power, sexuality, spectatorship, rape, and revenge.

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Rape-revenge is one of film studies' neglected genres, in spite of the plethora of examples globally over the past decade. Previously considered a notorious subset of 1970s and 1980s horror or exploitation, there has been a massive revitalization and diversification of rape-revenge in recent years. This book updates and redefines the rape-revenge genre, analyzing the politics, ethics, and affects at play in the filmic construction of rape and its responses. Henry examines significant trends in rape-revenge's temporal, cross-media, and cross-cultural shifts during the genre's revisionist phase through in-depth case studies of films such as The Last House on the Left, Katalin Varga, and Descent. These case studies are placed within the broader cultural myths and media narratives about rape. The book uncovers the current potential and limitations of this under-theorized genre for cultural explorations of political and ethical issues surrounding gender, power, sexuality, spectatorship, rape, and revenge.

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