Hunting girls : sexual violence from The hunger games to campus rape / Kelly Oliver.
Oliver, Kelly, 1958- author.
|Format||Book and Print|
|Publication Info||New York : Columbia University Press, 2017.|
|Description||viii, 203 pages ; 22 cm|
More information about this title
|Contents||Introduction: Girls as trophies. Creepshots of unconscious girls ; Party rape ; Violence toward girls from The hunger games to Fifty shades -- 1. A princess is being beaten and raped. The rape of Sleeping Beauty ; A princess is being drugged ; Sleeping Beauty's waking nightmare ; Fifty shades of consent -- 2. Rape as spectator sport and creepshot entertainment. "No means yes" and nonconsensual sex ; Affirmative consent apps for cellphones ; Retaliation for reporting and perpetrators claiming victimhood ; "Dead girls," unconscious victims, and public shame ; Recording not reporting : "pictures don't lie" (even if women do) ; Social media and the denigration of women -- 3. Girls as predators and prey. From princess to huntress ; Hanna : The little mermaid ; The hunger games' Katniss : Cinderella ; Twilight's Bella : Beauty and the beast ; Divergent's Beatrice : awaking Sleeping Beauty -- Conclusion: The new Artemis, Title IX, and taking responsibility for sexual assault.|
|Abstract||"Katniss Everdeen (The Hunger Games), Bella Swan (Twilight), Tris Prior (Divergent), and other strong and resourceful characters have decimated the fairytale archetype of the helpless girl waiting to be rescued. Giving as good as they get, these young women access reserves of aggression to liberate themselves--but who truly benefits? By meeting violence with violence, are women turning victimization into entertainment? Are they playing out old fantasies, institutionalizing their abuse? In Hunting Girls, Kelly Oliver examines popular culture's fixation on representing young women as predators and prey and the implication that violence--especially sexual violence--is an inevitable, perhaps even celebrated, part of a woman's maturity. In such films as Kick-Ass (2010), The Girl with the Dragon Tattoo (2011), and Maleficent (2014), power, control, and danger drive the story, but traditional relationships of care bind the narrative, and even the protagonist's love interest adds to her suffering. To underscore the threat of these depictions, Oliver locates their manifestation of violent sex in the growing prevalence of campus rape, the valorization of woman's lack of consent, and the new urgency to implement affirmative consent apps and policies."--Jacket.|
|Bibliography note||Includes bibliographical references and index.|
|Library||Location||Call Number||Status||Item Actions|
|Joyner||General Stacks||P96 .S45 O45 2017||Item has been checked out - Due: 04/13/2019||Want This?|