Rape-Revenge Films: A Critical Study by Alexandra Heller-Nicholas

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By Alexandra Heller-Nicholas

Usually thought of the bottom intensity to which the cinema can plummet, the rape-revenge movie has been brushed off as exploitative and sensational, catering to a demented demographic. simply on such infrequent events as Ingmar Bergman's The Virgin Spring, John Boorman's Deliverance and Quentin Tarantino's dying facts has the rape-revenge motion picture transcended what's more often than not assumed to be its intrinsically exploitative nature and moved into the mainstream. This severe evaluation reassesses that standpoint through exploring various topics, in addition to the weather that this kind of movie has in universal. the writer discusses an array of flicks directed by means of noteworthy administrators from numerous international locations, demonstrating that diversified and sometimes contradictory remedies of sexual violence can exist concurrently.

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The ghosts receive a designated corner on stage at every performance to help them feel welcome. Holas gives up his healing as soon as he runs out of cosmic energy. Plíhal receives a proper burial despite having dematerialised. Nothing strikes the viewer as fantastic or incredible because it is not presented as such within the text of the film. The poetic, slightly lyrical, lens translates the supernatural into spiritual, making questions of rationality superfluous. The emphasis for Zelenka and his viewer remains on the human relationships and the energy that a group of friends can create in a specific time and place, when united by a song or a ritual from the collective memory of a given culture.

With the introduction of Isaak’s character into the film, socialist realism enters into a strange dialogue with magic realism. The distinction between the two modes of representing reality is signalled by the cinematographer’s choice of camera filters. Suki Medencevic consistently uses yellow to show the gruelling daily routine and the utter misery of camp life. He chooses blue to signal the hope that Isaak brings with him to the camp. Medencevic’s blue filters are especially effective in poetic long shots of the sky and the great expanse of water (the lake) that surround the camp, providing a visual meditation on alternatives to the claustrophobic system of the camp.

As the narrative progresses, Cˇechomor’s musicians embark on tour with the charismatic Nohavica and, winning the applause of thousands of enchanted fans, begin to experience first-hand the aura of the bard. indd 26 31/07/2012 11:10 VERNACULAR MAGIC REALISM IN GLOBALISING EUROPE they partake in and share with others. Zelenka’s talent as a filmmaker rests in the fact that he conjures the collective spirit on screen without making it look corny or false. The spirituality that the musicians cultivate together, on and off stage, seems to have eclectic sources that include music, poetry, folklore, religion, nature, consciousness-altering drugs, astrology and more.

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