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  1. The Violation of Representation : Art, Argento and the Rape-Revenge Film

    QuellenartElektronische Volltexte & Multimedia>>Aufsätze aus Zeitschriften / Sammelbänden>>
    UrheberHeller-Nicholas, Alexandra
    Verleger University <Edinburgh>
    Schlagworte FWFilmgenre; Filmanalyse; Horrorfilm; Filmtheorie
    Freie Schlagworte FW Rape-Revenge Film
    Beschreibung "Considering the moral controversies surrounding films such as I Spit on Your Grave (Meir Zarch, 1976) and Baise-Moi (Virginie Despentes and Coralie Trinh-Thi, 2000), the rape-revenge film is often typecast as gratuitous and regressive. But far from dismissing rape-revenge in her foundational book Men, Women and Chain Saws: Gender in the Modern Horror Film (1992), Carol J. Clover suggests that these movies permit unique insight into the representation of gendered bodies on screen. In Images of Rape: The 'Heroic' Tradition and Its Alternatives(1999), art historian Diane Wolfthal demonstrates that contradictory representations of sexual violence co-existed long before the advent of the cinematic image, and a closer analysis of films that fall into the rape-revenge category reveals that they too resist a singular classification. Despite the broadness of the rape-revenge category, however, these films predominantly involve some kind of visceral skirmish between victim/villain, good/evil, female/male and right/wrong, and the desire for vengeance upon which their narratives rely provides a widely shared melodramatic foundation. The ideological leanings, thematic cores and moral messages of any given text hinge upon its representational mechanics-in this instance, how film formally constructs meaning-and can thus shift radically from text to text, despite the uniformity of the trope itself.
    Italian cult horror director Dario Argento's The Stendhal Syndrome (La Sindrome di Stendhal, 1996) is a rape-revenge film that addresses the representation of sexual violence on screen, placing it explicitly in a cinematic and art-historical context. In the film, Anna Manni (Asia Argento) is afflicted by a titular psychological condition that renders her incapable of distinguishing between the real and the represented image, thwarting her desire to avenge a number of brutal sexual assaults. Through an explicit engagement with Renaissance and Baroque rape imagery, Argento demonstrates how this historical framing of the fictional rape victim is itself an act of representational violence. Anna is trapped within a range of identities: femme fatale, avenging tomboy, professional career woman, deranged killer and even daughter of the director, given the extradiegetic complication of the star presence of actress Asia Argento. Anna collapses under the weight of her own status as a representation, and consequently, the revenge components of the narrative provide little consolation for spectators, critics or Anna herself. By exposing and collapsing the inherent contradictions that accompany the act of representing rape through the eyeglass of visual history, Argento provides a sophisticated analysis of the problematic intersection of aesthetics and sexual violence. With the futility of the vengeance component of the rape-revenge trope laid bare, The Stendhal Syndrome can be understood as a self-reflexive critique of the rape-revenge category itself." (Information des Anbieters)
    Inhaltsverzeichnis/StrukturRepresenting Rape and Revenge; Framing Rape in The Stendhal Syndrome; Do You Recognize Me Now?; The Futility of Vengeance; Works Cited
    Themen FWFilm>>Biographie, Filmgeschichte; Film>>Theorie, Methodik, Didaktik; Film>>Spielfilm; Film>>Einzelne Filme (Sekundärliteratur)
    RVK FWAP 44400; AP 45000; AP 45100; AP 45200; AP 53900; AP 53970; AP 59800
    DDC FWPhilosophie, Theorie, Ästhetik; Historische, geografische, personenbezogene Behandlung
    geographischer BezugBehandlung nach Gebieten, Regionen, Orten im Allgemeinen>>
    zeitlicher Bezugzeitlich übergreifend / unabhängig>>
    Anmerkungen zur RessourceForum: University of Edinburgh Postgraduate Journal of Culture and the Arts, Autumn 2006