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List of Figures (p. vii) |
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Acknowledgements (p. ix) |
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Introduction: The Controversy of the Rape-Revenge Film (p. 1) |
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1. The Affective Structure of the Rape-Revenge Film (p. 15) |
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The rape-revenge film in feminist film theory: what about the female spectator? (p. 15) |
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Turning to cognitive film theory (p. 23) |
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Going full on Girl with the Dragon Tattoo in Orange Is the New Black (p. 25) |
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Outlining the affective structure of the rape-revenge film (p. 28) |
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2. On Punishment, Fiction and Femininity (p. 33) |
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Punishment in fiction (p. 34) |
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Blending realism and the fantastic: Lisbeth Salander of the Millennium trilogy (p. 36) |
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Lisbeth Salander as a fictional relief (p. 41) |
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The transformation of the rape-avenger (p. 44) |
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The transformation as fantasy space and inversion of conventional femininity (p. 46) |
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3. On Revenge: Rape-Revenge Storylines and the Evolutionary Origin of Payback (p. 59) |
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An introduction to revenge (p. 60) |
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Revenge in the rape-revenge film (p. 65) |
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Honour and revenge (p. 70) |
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A function for revenge fantasies (p. 78) |
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4. On Anger: A Philosophical Exploration of Women’s Anger and Its Functions (p. 80) |
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Feminists on women’s anger (p. 81) |
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The functions of anger (p. 84) |
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Anger eliminativists: on sadness and unconditional forgiveness as alternative responses (p. 89) |
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Unconditional forgiveness in Twilight Portrait and Women Talking (p. 95) |
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Rape-revenge film as a place of rage (p. 101) |
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5. Race and the Rape-Revenge Film (p. 105) |
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The Black rape-avenger (p. 106) |
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Silencing the Black woman’s experience of rape (p. 113) |
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The Nightingale as post-colonial rape-revenge film (p. 117) |
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Critique of conventions: I May Destroy You (p. 122) |
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6. Containing the Threat of the Female Avenger On-Screen (p. 128) |
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Gender trouble: Blue Steel (p. 129) |
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The action heroine explained and contained (p. 135) |
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Explanatory devices and containment strategies in the rape-revenge film: Promising Young Woman (p. 139) |
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7. Emotions in Contemporary Film Theory and Rape-Revenge Films as Exploitative (p. 149) |
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The didactic argument against revenge stories (p. 150) |
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The realist argument against rape-revenge film (p. 155) |
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The exploitation argument against explicit portrayal of rape (p. 157) |
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The ethics of making us watch (p. 162) |
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The explicit rape sequence and argumentative context: Irreversible and Holiday (p. 171) |
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Conclusion: The Rape-Revenge Convention in Complex Contexts (p. 182) |
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Bibliography (p. 189) |
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Index (p. 200) |