aBlending cinematic, literary, historical, and political analyses,
Watching Rape demonstrates that filmic representations of rape are
never only about gender and sexual violence, but are narrative
devices that also attempt to regulate such conflicts and boundaries
of power as race, nationality, and social class. Projansky makes
good on her bold claim that representations of rape are ubiquitous,
versatile, and utterly central to the history of cinema itself. A
scholarly tour de force, a feminist triumph. Two thumbs up!a
--Judith Stacey, University of Southern California
aExciting and original. Sarah Projanskyas work on rape and
postfeminism is an important contribution to scholarship in film
and cultural studies, as well as womenas studies.a
--Richard Slotkin, author of "Gunfighter Nation"
a"Watching Rape" is a compelling account of the role of the rape
in making meaning and re-inscribing inequalities within visual
media, and as such it is a necessary and valuable research
contribution. a
--Leslie Kern, School of Womenas Studies, York University
aSarah Projanskyas work is distinctive for its theoretical
clarity and interdisciplinary feminist framework. She urges us to
think deeply about the ways in which media shape our understandings
of sexual violence. Watching Rape is a powerful, historically
grounded, incisive analysis of the representation of sexual
violence.a
--Rosa Linda Fregoso, University of California-Santa Cruz
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, saysSarah 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.
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