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1	The horror of feminism : understanding the second wave through the reception of controversial films Fulfs, Patricia Ann 02 November 2010 (has links) Given feminists’ longstanding concerns about the ideological effects of media images, and prompted by the lack of, but continued need for, feminist activism today, some feminist scholars have become increasingly interested in how popular media shape public understandings of feminism, represent its issues, and define its history. Communication scholars also appreciate that both media texts and social movements are produced and received within particular historical contexts, and that controversies over either are discursive sites in which cultural and political values clash and their meanings are negotiated. During the 1970s, second-wave feminism, especially its radical wing, was a controversial movement which threatened to disrupt basic relations between women and men and, therefore, has been much maligned by men, women, anti-feminists, and a new generation of self-proclaimed feminists. Yet, the second wave is often portrayed inaccurately. This dissertation thus reviews key works, theories, and events associated with radical feminism as well as the debates between it and other schools of feminist thought–liberal, Marxist/socialist, psychoanalytic, cultural, and various ‘new’ feminisms. Then, employing a context-sensitive form of ideological criticism, I examine three films, their promotional strategies, their mainstream critical and scholarly receptions, and how these elements converged with particular feminist discourses within their shared historical contexts. Specifically, I investigate why the horror films Rosemary’s Baby (1968), I Spit on Your Grave (1978), and Snuff (1976)–which each featured an exposed, vulnerable, violated, or ‘monstrous’ female body–became objects of controversy when they tapped into the contemporaneous feminist issues of reproduction, rape, and pornography, respectively, and how the films’ receptions reveal ways in which people have made sense of feminism and its issues. I contend that these controversies, both individually and when viewed as a series, were symptomatic of the hegemonic negotiations of second-wave feminism and its attempts to publicize discourses about sex, violence, and the female body, negotiations which were occurring both inside and outside the women’s movement. Through these controversial cases, then, we can see feminism’s transformation–from an active movement which criticized the structures of women’s oppression to a discursive and primarily academic enterprise focused more on criticizing itself. / text Horror films Feminism Feminist theory Anti-pornography movement I spit on your grave Anti-rape movement Rosemary's baby Film studies
2	“Suck it, bitch!” : En komparativ innehållsanalys av rape/revenge-filmerna I Spit on Your Grave från 1978 respektive 2010 / “Suck it, bitch!” : A comparative content analysis of the rape/revenge films I Spit on Your Grave from 1978 and 2010 Melchert, Simon, Nylander, Signe January 2022 (has links) I Spit on Your Grave is a low budget rape/revenge-movie released in 1978, directed by Meir Zarchi. The plot follows Jennifer Hills, who is brutally raped by a group of men and then left for dead. She survives and then proceeds to seek revenge on her rapists. In 2010, a new adaptation was released, with a similar plot and characters, directed by Steven R. Monroe. This study sets out to examine the differences between the portrayal of protagonist Jennifer Hills in the 1978 original and the 2010 version of I Spit on Your Grave. Using qualitative content analysis and a structuralist and semiotic perspective, the study also aims to explore what these differences can tell us about the societies responsible for producing the movies. The theories examined in order to properly answer these questions are mainly feminist film theory derived from acknowledged film theorists and scholars such as Carol Clover and Laura Mulvey. The material analyzed consists of scenes where Jennifer is present, and the results show that Jennifer in 1978 is portrayed in a more feminine manner, heavily influenced by the femme fatale from the 1940’s film noir. She uses her beauty and body to seduce the men in order to kill them, whereas Jennifer in 2010 is portrayed as a woman whose characteristics after the rape transforms into those of a man. In order to get revenge on her rapists, she has to behave more like them. Rather than a beauty, Jennifer is portrayed as a monster. Zarchis' film from the 1970’s seems to reward women behaving and looking like women, while Monroes film from 2010 encourages women to act like men, in order to survive. I Spit on Your Grave rape/revenge rape avenger feministisk filmteori skräckfilm fallos nyinspelad skräckfilm Media and Communications Medie- och kommunikationsvetenskap
3	Rape-revenge film: "empowering" eller förnedrande sexualisering av kvinnor? : en jämförande analys av Paul Verhoevens Elle gentemot tradition / Rape-revenge film: "empowering" or degrading sexualization of women? : a comparative analysis of Paul Verhoeven's Elle against the tradition Rosén, Rebecca January 2017 (has links) Denna uppsats handlar om rape-revenge film. Närmare bestämt undersöker den hur de kvinnliga karaktärerna representeras i de utvalda filmerna och om, och i så fall hur, de kan ses som ”empowering” eller om det endast handlar om en sexualiserande porträttering av våld mot kvinnor. Uppsatsen använder sig utav en film- och textbaserad analys och den grundläggande teorin för uppsatsen är den feministiska filmteorin, samt teorier om kvinnor i rape-revenge. De tre filmerna som står i fokus är I Spit on Your Grave (Meir Zarchi, 1978), Ms. 45 (Abel Ferrara, 1981) och Elle (Paul Verhoeven, 2016). Slutresultatet visar att de tre filmerna inte porträtterar deras våldtäktsscener på ett sexualiserat eller erotiskt sätt utan snarare framhäver brutaliteten i våldet för åskådarna i form av bland annat karaktärsidentifiering med offret istället för våldtäktsmannen. Däremot, skiljer sig filmerna i hur deras respektive kvinnliga karaktärer väljer att hämnas och huruvida deras agerande kan ses som empowering eller inte. Av de tre filmerna är Elle den som tydligast uppvisar olika versioner av empowering och hur det som stärker en person är väldigt individuellt. Rape-revenge exploitation film I Spit on Your Grave Ms. 45 The Last House on the Left The Virgin Spring Baise-moi Elle Rikke Schubart Carol J. Clover Jacinda Read Sarah Projansky gender representation feminist film theory representation of rape in film Rape-revenge exploateringsfilm exploitation I Spit on Your Grave Ms. 45 The Last House on the Left Jungfrukällan Baise-moi Elle Rikke Schubart Carol J. Clover Jacinda Read Sarah Projansky genusrepresentation feministisk filmteori våldtäkter i film våldtäktshämnare Studies on Film Filmvetenskap

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