Rape in Film

This book brings specialists in religious studies, African-American studies, history, and political science, together with a media librarian to examine violence as it is presented in films and how instructors can use films to teach about violence. The object of inquiry is the vulnerability of socially oppressed people to physical violence and to institutionalized patterns of discrimination, herein termed structural violence. The susceptibility of women to violence provides an example that is discussed in detail, revealing both merits and weaknesses in film treatment of gender. The full effect of violence is considered, from the abuse of the individual to the wartime mobilization of entire societies. Chapters also look at the benefits and problems of using films in the classroom and provide resources helpful to instructors, such as sample discussion and study guides, a bibliography, and a filmography.

More than any other filmmaker, Sam Peckinpah opened the door for graphic violence in movies. In this book, Stephen Prince explains the rise of explicit violence in the American cinema, its social effects, and the relation of contemporary ultraviolence to the radical, humanistic filmmaking that Peckinpah practiced.Prince demonstrates Peckinpah' complex approach to screen violence and shows him as a serious artist whose work was tied to the social and political upheavals of the 1960s. He explains how the director' commitment to showing the horror and pain of violence compelled him to use a complex style that aimed to control the viewer' response.Prince offers an unprecedented portrait of Peckinpah the filmmaker. Drawing on primary research materials--Peckinpah' unpublished correspondence, scripts, production memos, and editing notes--he provides a wealth of new information about the making of the films and Peckinpah' critical shaping of their content and violent imagery. This material shows Peckinpah as a filmmaker of intelligence, a keen observer of American society, and a tragic artist disturbed by the images he created.Prince' account establishes, for the first time, Peckinpah' place as a major filmmaker. This book is essential reading for those interested in Peckinpah, the problem of movie violence, and contemporary American cinema.

India produces more films than any other country and these works are consumed by non-Western cultures in Africa, Eastern Europe, the Middle East, and by Indian communities across the world. This text focuses on how such a dominant media configures the 'nation' in post-Independence Hindi cinema.