Artwork cinema has continuously had an air of mystery of the erotic, with the time period being every now and then a euphemism for eu motion pictures that have been extra specific than their American opposite numbers. This specialize in sexuality, no matter if buried or particular, has intended a recurrence of the topic of rape, approximately as ubiquitous as in mainstream movie. This anthology explores the illustration of rape in artwork cinema. Its objective is to spotlight the superiority and a number of capabilities of rape during this prestigious mode of filmmaking in addition to to query the that means of its ubiquity and flexibility. Rape in paintings Cinema takes an interdisciplinary method, bringing jointly famous figures corresponding to historian Joanna Burke, thinker Ann J. Cahill, and picture students Martin Barker, Tanya Horeck and Scott Mackenzie along rising voices. it's foreign in scope, with members from Canada, the U.S. and Britain coming jointly to enquire the illustration of rape in a few of cinema's so much adored movies.
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Additional info for Rape in Art Cinema (Continuum Film Studies)
Like Rashomon, Oshima’s The Man Who Left His Will on Film is preoccupied with the problem of the ﬁeld of truth in relation to vision; both ﬁlms ﬁgure this problem through the formal disruptions of a rape. Like Kurosawa’s, Oshima’s ﬁlm produces a reﬂexive consideration of the idea of a medium. Finally, in both ﬁlms, rape is not a trope; rather, rape enables the irreconcilable narratives for which the ﬁlms are famous. In many other respects, however, the two ﬁlms are remarkably different. While Rashomon requires no narrative summary — and troubles the possibility of narrative summation in the ﬁrst place — Oshima’s ﬁlm can be retold, albeit with impossible (yet coexistent) logical alternatives.
The different valences potentially appended to the term “medium” will be given consideration below in a discussion of the spiritual medium in Rashomon and the materiality of the medium of ﬁlm in The Man Who Left His Will on Film. Rape performs in both ﬁlms the role of a stain in the ﬁeld of truth. In short, the function of rape in these two texts — and, one could potentially argue, in art cinema more generally — is to introduce a structural weakness in the lens through which the narrative is subsequently viewed.
Inﬁnite minus one. Moreover, critics have colluded with X by assuming him to be a reliable narrator. Where Marienbad show us how rape can be discursively deconstructed by the very character who has the most to gain from such a strategy and where the woman’s perspective is systematically invalidated is where postmodern narrativity threatens to become problematic, even antithetical to feminist interpretation. 19 Without sacriﬁcing the openness and polyvalence of the text, we might begin to work our way out of that impasse by remembering to ask: plural for whom?