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Second-wave feminism's mission was to end the blanket silence
shrouding rape and bring it to public attention. Now feminist
critics must confront a different issue. In "Public Rape" Tanya
Horeck considers the public investment in images of rape and the
figure of the raped woman. Introducing the idea of "public rape",
Horeck looks at how images of rape serve as cultural fantasies of
sexual, racial and class difference. Looking at rape in real life
as well as in literature and films such as "The Accused" and "Boys
Don't Cry", Horek reveals how representations of rape raise vital
questions about the relationship between reality and fantasy, and
between violence and spectacle.
Second-wave feminism fought to end the blanket silence shrouding rape and bring it to public attention. Now feminist critics must confront a different issue. In Public Rape Tanya Horeck considers the public investment in images of rape and the figure of the raped woman. Introducing the idea of 'public rape', Horeck looks at how images of rape serve as cultural fantasies of sexual, racial and class difference. Looking at rape in real life as well as in literature and films such as The Accused and Boys Don't Cry, Horek reveals how representations of rape raise vital questions about the relationship between reality and fantasy, and between violence and spectacle
This is an exploration into the darkest side of cinema. Explosive
images of sex and violence in films by directors such as Catherine
Breillat, Gaspar Noe, Michael Haneke and Lars von Trier have
attracted media attention for the ways in which they seek to shock
and provoke the spectator into powerful affective and visceral
responses. This first collection of essays devoted to the new
extremism in contemporary European cinema critically interrogates
this highly contentious body of work and demonstrates that these
films and the controversies they engender are indispensable to the
critical task of rethinking the terms of spectatorship. Through
critical discussions of key films and directors, this book sheds
new light on cutting-edge debates in Film Studies regarding
sexuality, violence and spectatorship, affect and ethics, and the
political dimensions of extreme cinema. Including important new
work from internationally renowned scholars Martin Barker and
Martine Beugnet, as well as combining a range of approaches to
extreme cinema across audience research and theories of
spectatorship, this exploration of the darkest side of cinema is an
invaluable resource for film scholars and students.
Justice on Demand: True Crime in the Digital Streaming Era offers a
theoretical rumination on the question asked in countless blogs and
opinion pieces of the last decade: Why are we so obsessed with true
crime? Author Tanya Horeck takes this question further: Why is true
crime thought to be such a good vehicle for the new modes of
viewer/listener engagement favored by online streaming and
consumption in the twenty-first century? Examining a range of
audiovisual true crime texts, from podcasts such as Serial and My
Favorite Murder to long-form crime documentaries such as The Jinx
and Making a Murderer, Horeck considers the extent to which the
true crime genre has come to epitomize participatory media culture
where the listener/viewer acts as a ""desktop detective"" or
""internet sleuth."" While Facebook and Twitter have re-invigorated
the notion of the armchair detective, Horeck questions the rhetoric
of interactivity surrounding true crime formats and points to the
precarity of justice in the social media era. In a cultural moment
in which user-generated videos of real-life violence surface with
an alarming frequency, Justice on Demand addresses what is at stake
in the cultural investment in true crime as packaged mainstream
entertainment. Paying close attention to the gendered and
racialized dimensions of true crime media, Horeck examines objects
that are not commonly considered ""true crime,"" including the
subgenre of closed-circuit television (CCTV) elevator assault
videos and the popularity of trailers for true crime documentaries
on YouTube. By analyzing a range of intriguing case studies, Horeck
explores how the audience is affectively imagined, addressed, and
commodified by contemporary true crime in an ""on demand""
mediascape. As a fresh investigation of how contemporary variations
of true crime raise significant ethical questions regarding what it
means to watch, listen, and ""witness"" in a digital era of
accessibility, immediacy, and instantaneity, Justice on Demand will
be of interest to film, media, and digital studies scholars.
Justice on Demand: True Crime in the Digital Streaming Era offers a
theoretical rumination on the question asked in countless blogs and
opinion pieces of the last decade: Why are we so obsessed with true
crime? Author Tanya Horeck takes this question further: Why is true
crime thought to be such a good vehicle for the new modes of
viewer/listener engagement favored by online streaming and
consumption in the twenty-first century? Examining a range of
audiovisual true crime texts, from podcasts such as Serial and My
Favorite Murder to long-form crime documentaries such as The Jinx
and Making a Murderer, Horeck considers the extent to which the
true crime genre has come to epitomize participatory media culture
where the listener/viewer acts as a ""desktop detective"" or
""internet sleuth."" While Facebook and Twitter have re-invigorated
the notion of the armchair detective, Horeck questions the rhetoric
of interactivity surrounding true crime formats and points to the
precarity of justice in the social media era. In a cultural moment
in which user-generated videos of real-life violence surface with
an alarming frequency, Justice on Demand addresses what is at stake
in the cultural investment in true crime as packaged mainstream
entertainment. Paying close attention to the gendered and
racialized dimensions of true crime media, Horeck examines objects
that are not commonly considered ""true crime,"" including the
subgenre of closed-circuit television (CCTV) elevator assault
videos and the popularity of trailers for true crime documentaries
on YouTube. By analyzing a range of intriguing case studies, Horeck
explores how the audience is affectively imagined, addressed, and
commodified by contemporary true crime in an ""on demand""
mediascape. As a fresh investigation of how contemporary variations
of true crime raise significant ethical questions regarding what it
means to watch, listen, and ""witness"" in a digital era of
accessibility, immediacy, and instantaneity, Justice on Demand will
be of interest to film, media, and digital studies scholars.
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