Author: Susan Hopkins, Centre for Heritage and Culture, University of Southern Queensland - Academia.edu, Google Scholar, ResearchGate

Abstracts:
- »Building on this theme, Louise Coopey’s chapter looks to the margins of one of the most popular television shows in recent history, Game of Thrones. Although the show has become notorious for employing rape as a plot device, most attention has focused on the depictions of sexual violence against the ruling-class main characters. In her analysis, Coopey shifts our attention to the sex worker, specifcally the character of Ros, to demonstrate how her violation functions in the sexual economy of Westeros. Ros’ treatment, which seems to be given little consideration by the showrunners who mainly use her as a plot device, refect broader attitudes that normalize violence against working-class women and sex workers.« (Source: Stephanie Patrick and Mythili Rajiva. »Introduction.« The Forgotten Victims of Sexual Violence in Film, Television and New Media: Turning to the Margins. Edited by Stephanie Patrick et al. Cham 2022: 16)

- »The following chapter utilizes close, textual and feminist analysis of fictitious, teen, “bad girl” characters Othered and punished within the misogynistic moral narratives of erotic thriller films of the 1990s. Specifically, the chapter explores how ambitious, confident, (hyper)sexual “bad” girls are constructed within these popular film narratives, through gendered social class myths. The author argues that these intersecting, class-shaming, slut-shaming myths also reflect reactionary cultural anxieties about female upward social mobility and popular girl power in the 1990s. The chapter interrogates the intersecting class-based assumptions, stereotypes and rape culture myths repeated across these representative film case studies, especially those which may inadvertently function to blame teenage victims and excuse older male predators. The author takes issue with the (mis)representation of the monstrous, bad or shadow girl (who is supposedly “asking for it” by asking for too much) and challenges the punitive heterosexual male gaze and moral economy of these films.« (Source: SpringerLink)

Contents:

	3.1 Introduction (p. 47)
	3.2 Introducing Game of Thrones (p. 49)
	3.3 The Sex Worker and Rape Culture in Westeros (p. 50)
	3.4 Sexposition and Sexual Violence (p. 52)
	3.5 Sexploitation as the Victimization of Lowborn Women (p. 55)
	3.6 Game of Thrones’ Problem with Implied Consent (p. 57)
	3.7 Concluding Remarks (p. 60)
	References (p. 61)

Wikipedia: History of the Americas: History of the United States | Film: Films about rape | Film: Fictional victims of sexual assault / Ros | Television: American drama television series / Game of Thrones | Sex industry: Sex worker | Sex and the law: Sexual assault