简介
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.
目录
Contents 6
List of illustrations and captions 8
Contributors 10
Introduction: Why Rape? 14
I. CANONICAL WORKS AND AUTEURS 26
Chapter One: Screen/Memory: Rape and Its Alibis in Last Year at Marienbad 28
Chapter Two: The Fault Lines of Vision: Rashomon and The Man Who Left His Will on Film 40
Chapter Three: Bu帽uel: Storytelling, Desire and the Question of Rape 54
Chapter Four: Materiality and Metaphor: Rape in Anne Claire Poirier\u2019s Mourir 脿 tue-t锚te and Jean-Luc Godard\u2019s Weekend 68
Chapter Five: Sins of Permission: The Union of Rape and Marriage in Die Marquise von O and Breaking the Waves 82
Chapter Six: Rough Awakenings: Unconscious Women and Rape in Kill Bill and Talk to Her 96
II. ENGLISH-LANGUAGE INDEPENDENT CINEMAS 110
Chapter Seven: Jane Campion\u2019s Women\u2019s Films: Art Cinema and the Postfeminist Rape Narrative 112
Chapter Eight: Boys Don\u2019t Get Raped 126
Chapter Nine: \u201cIf It Was a Rape, Then Why Would She Be a Whore?\u201d Rape in Todd Solondz\u2019 Films 142
III. CASE STUDY: CIN脡MA BRUT AND THE NEW FRENCH EXTREMISTS 156
Chapter Ten: \u201cTypically French\u201d?: Mediating Screened Rape to British Audiences 158
Chapter Eleven: On Watching and Turning Away: Ono\u2019s Rape, Cin茅ma Direct Aesthetics, and the Genealogy of Cin茅ma Brut 172
Chapter Twelve: Uncanny Horrors: Male Rape in Bruno Dumont\u2019s Twentynine Palms 184
Chapter Thirteen: Sexual Trauma and Jouissance in Baise-Moi 198
Chapter Fourteen: Shame and the Sisters: Catherine Breillat\u2019s 脌 Ma Soeur! (Fat Girl) 208
Notes 224
Index 252
A 252
B 252
C 253
D 253
E 253
F 253
G 253
H 254
I 254
J 254
K 254
L 254
M 254
N 255
O 255
P 255
Q 256
R 256
S 256
T 257
U 257
V 257
W 257
Y 257
Z 257
List of illustrations and captions 8
Contributors 10
Introduction: Why Rape? 14
I. CANONICAL WORKS AND AUTEURS 26
Chapter One: Screen/Memory: Rape and Its Alibis in Last Year at Marienbad 28
Chapter Two: The Fault Lines of Vision: Rashomon and The Man Who Left His Will on Film 40
Chapter Three: Bu帽uel: Storytelling, Desire and the Question of Rape 54
Chapter Four: Materiality and Metaphor: Rape in Anne Claire Poirier\u2019s Mourir 脿 tue-t锚te and Jean-Luc Godard\u2019s Weekend 68
Chapter Five: Sins of Permission: The Union of Rape and Marriage in Die Marquise von O and Breaking the Waves 82
Chapter Six: Rough Awakenings: Unconscious Women and Rape in Kill Bill and Talk to Her 96
II. ENGLISH-LANGUAGE INDEPENDENT CINEMAS 110
Chapter Seven: Jane Campion\u2019s Women\u2019s Films: Art Cinema and the Postfeminist Rape Narrative 112
Chapter Eight: Boys Don\u2019t Get Raped 126
Chapter Nine: \u201cIf It Was a Rape, Then Why Would She Be a Whore?\u201d Rape in Todd Solondz\u2019 Films 142
III. CASE STUDY: CIN脡MA BRUT AND THE NEW FRENCH EXTREMISTS 156
Chapter Ten: \u201cTypically French\u201d?: Mediating Screened Rape to British Audiences 158
Chapter Eleven: On Watching and Turning Away: Ono\u2019s Rape, Cin茅ma Direct Aesthetics, and the Genealogy of Cin茅ma Brut 172
Chapter Twelve: Uncanny Horrors: Male Rape in Bruno Dumont\u2019s Twentynine Palms 184
Chapter Thirteen: Sexual Trauma and Jouissance in Baise-Moi 198
Chapter Fourteen: Shame and the Sisters: Catherine Breillat\u2019s 脌 Ma Soeur! (Fat Girl) 208
Notes 224
Index 252
A 252
B 252
C 253
D 253
E 253
F 253
G 253
H 254
I 254
J 254
K 254
L 254
M 254
N 255
O 255
P 255
Q 256
R 256
S 256
T 257
U 257
V 257
W 257
Y 257
Z 257
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