Relevant bibliographies by topics / Representation of rape in film

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Representation of rape in film'

Author: Grafiati
Published: 4 June 2021
Last updated: 9 February 2022

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Journal articles on the topic "Representation of rape in film"

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Indriyana, Titik, and Choirul Ulil Albab. "Blaming the victim: Representation the victim of rape in M.F.A film." Informasi 50, no. 1 (August 4, 2020): 46–57. http://dx.doi.org/10.21831/informasi.v50i1.27861.

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The media in representing rape victims is still gender biased, such as blaming the victim. This study aims to find out how female victims of rape are shown in the M.F.A film by using semiotics to analyze the structure and ideology contained in the text. The theory used by researchers to analyze texts (M.F.A.) is the concept of radical feminism. The results of the research show in the M.F.A. film, women are shown as sexual objects of men. Women are represented as having to accept anything, including their fate when raped by men. They are not given the strength to resist and only accept it. Even in the eyes of the public and the law, women who are rape victims are still weak and are actually cornered (Blaming the Victim). Reports of rape are considered fabricated and have no strong evidence. In the film M.F.A. women who demanded their rights were silenced, by patriarchal ideologies. What's worse is the silence of a woman, because they have been hegemony in patriarchal ideologyMedia dalam merepresentasikan korban perkosaanmasih bias gender. Bahkan menyalahkan korban (Blaming The Victim). Penelitian ini bertujuan untuk mengetahui bagaimana perempuan korban perkosaan ditampilkan dalam film M.F.A dengan menggunakan semiotika untuk menganalisis struktur dan ideologi yang terdapat di dalam teks. Konsep yang digunakan peneliti untuk menganalisis teks (Film M.F.A.) adalah feminisme radikal. Feminis radikal berpendapat, perempuan harus memiliki kendali atas tubuh mereka.Hasil penelitian menunjukkan dalam Film M.F.A., perempuan diperlihatkan sebagai objek seksual dari laki-laki. Perempuan direpresentasikan harus menerima apapun, termasuk nasibnya ketika diperkosa oleh laki-laki. Mereka tidak diberikan kekuatan untuk melawan dan hanya menerimanya. Di mata masyarakat dan hukum pun, perempuan korban perkosaan masih lemah dan justru disudutkan (Blaming the Victim). Laporan mengenai perkosaan dianggap mengada-ada dan tidak memiliki bukti yang kuat. Dalam Film M.F.A. perempuan yang menuntut hak-haknya dibungkam, oleh ideologi-ideologi patriarki. Yang lebih parah lagi adalah yang membungkam juga seorang perempuan, karena mereka telah terhegemoni ideologi patriarki.
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Spallacci, Amanda. "Representing Rape Trauma in Film: Moving beyond the Event." Arts 8, no. 1 (January 9, 2019): 8. http://dx.doi.org/10.3390/arts8010008.

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Trauma theorists foreground the unrepresentability of trauma; however, with modern innovations in visual representation, such as the photograph and cinema, depictions of trauma have begun to circulate across different mediums for a variety of audiences. These images tend to problematically present the traumatic event rather than the effects of trauma, such as traumatic memory. Specifically, some contemporary Hollywood popular films and television series that include rape as their subject matter often include a rape scene that can evoke affects such as disgust or empathy, and while these affects can last the duration of the film, they fail to shift popular discourses about rape because affect is more productive when it focuses on effects instead of events. As trauma studies has shifted to memory studies in the Humanities, and rape has become more prominent in popular culture through the circulation of personal testimony on social media and memoir, depictions of rape in cinema have slowly started to change from presentations of rape scenes to representations of rape trauma that highlight different affects, such as shame. Using Monster (2003), Girl with the Dragon Tattoo (2011), Room (2015), and the television series, 13 Reasons Why (2017) and Sharp Objects (2018) as case studies, this paper argues that, for an audiovisual depiction of rape to shift popular discourses about rape, it would have to function rhetorically to widen the cultural understanding of rape trauma beyond the event, and demonstrate that rape trauma should be understood as part of the personal, unconscious, cultural, and visual mediation of traumatic memory.
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Projansky, Sarah. "The Elusive/Ubiquitous Representation of Rape: A Historical Survey of Rape in U.S. Film, 1903-1972." Cinema Journal 41, no. 1 (2001): 63–90. http://dx.doi.org/10.1353/cj.2001.0023.

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Asrita, Stara. "Konstruksi Feminisme Perempuan Sumba." ARISTO 7, no. 1 (December 17, 2018): 147. http://dx.doi.org/10.24269/ars.v7i1.1388.

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In much feminist literatures show that women often have been underneath men power. This study aims to analyze about women representation in film “Marlina si Pembunuh dalam Empat Babak”. The method is critical discourse to see hidden contexts in this film with a gender perspective. Some scenes show that woman had a choice to protect herself. The main character of this film, Marlina tried to give a poison and murdered the thieves who want to robber and rape her. Those Marlina’s acts were different if we comparing with women stereotype that existed. Women were described as a second person, gentle and depend on men. The feminist movement in this film show women’s emancipation in social life, struggle to protect her body and family problems in Sumba’s woman.
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Guarinos, Virginia, and Inmaculada Sánchez-Labella Martín. "Masculinity and Rape in Spanish Cinema: Representation and Collective Imaginary." Masculinities & Social Change 10, no. 1 (February 21, 2021): 25. http://dx.doi.org/10.17583/mcs.2021.5608.

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Commercial cinema in Spain, as in the rest of the world, has gone to great lengths to describe visually, without any intention of protest, each and every one of the forms of violence against women: physical, psychological, financial, social and, lastly, sexual. Beyond insinuating and intimidating compliments and gazes, sexual violence is something that is excepted in scripts, even in those of famous directors who create powerful female characters. The aim of this paper is to know how the Spanish directors, of both sexes, represent the topic of sexual violence, paying attention to the masculinity of the characters. To this end, a content analysis was performed on twelve films from a narrative perspective. In a second stage, employing methodological triangulation and a questionnaire as a quantitative tool, university students were asked about how they perceived the scenes of sexual violence in these films. The results show, on one side, that rape is the act of sexual violence more represented and, on the other hand, a lack of awareness about the treatment of rape in Spanish cinema, as well as its rejection by young audiences.
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Vuković, Vesi. "Violated sex: rape, nation and representation of female characters in Yugoslav new film and black wave cinema." Studies in Eastern European Cinema 9, no. 2 (February 12, 2018): 132–47. http://dx.doi.org/10.1080/2040350x.2018.1435204.

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Mitchell, Claudia. "Feminist Activism against Rape Culture." Girlhood Studies 14, no. 1 (March 1, 2021): v—vi. http://dx.doi.org/10.3167/ghs.2021.140101.

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I met Roxanne Harde, the guest editor of this Special Issue, at the Second International Girls Studies Association conference in 2019 when I attended the panel discussion, “Representations of Rape in Young Adult Fiction.” I recall Roxanne’s passion vividly and, indeed, the enthusiasm of all three presenters as they discussed a variety of texts in superb presentations that aligned well with Ann Smith’s notion of feminism in action in their seeing “a fictional text not only as a literary investigation into issues of concern to its author but also as the site of educational research” (2000: 245). Their papers pointed to the ways in which the analysis of how rape culture is treated in Young Adult (YA) literature, film, and the print media can take scholars and activists so much further into the issues, and, at the same time, noted the ways in which rape culture in all its manifestations as a global phenomenon has inevitably led to its becoming an everyday topic of YA fiction.
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Ferreday, Debra. "‘Only the Bad Gyal could do this’: Rihanna, rape-revenge narratives and the cultural politics of white feminism." Feminist Theory 18, no. 3 (July 28, 2017): 263–80. http://dx.doi.org/10.1177/1464700117721879.

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In July 2015, Rihanna released a seven-minute long video for her new single, entitled ‘Bitch Better Have My Money’ (more widely known as ‘BBHMM’), the violent imagery in which would divide feminist media commentators for its representation of graphic and sexualised violence against a white couple. The resulting commentary would become the focus of much popular and academic feminist debate over the intersectional gendered and racialised politics of popular culture, in particular coming to define what has been termed ‘white feminism’. ‘BBHMM’ is not the first time Rihanna’s work has been considered in relation to these debates: not only has she herself been very publicly outed as a survivor of male violence, but she has previously dealt with themes of rape and revenge in an earlier video, 2010’s ‘Man Down’, and in her lyrics. In this article I explore the multiple and layered ways in which Rihanna, and by extension other female artists of colour, are produced by white feminism as both responsible for perpetrating gender-based violence, and as victims in need of rescue. The effect of such liberal feminist critique, I argue, is to hold black female artists responsible for a rape culture that continually subjects women of colour to symbolic and actual violence. In this context, the fantasy violence of ‘Man Down’ and to a greater extent ‘BBHMM’ dramatises the impossibility of ‘being paid what one is owed’ in a culture that produces women of colour’s bodies, morality and personal trauma as abjected objects of consumption. I read these two videos through the lens of feminist film theory in order to explore how such representations mobilise affective responses of shame, identification and complicity that are played out in feminist responses to her work, and how their attachment to a simplistic model of representation conceals and reproduces racialised relations of inequality.
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Ikhsano, Andre, and Jakarudi Jakarudi. "Representation of Black Feminism in Hidden Figures." Nyimak: Journal of Communication 4, no. 2 (September 24, 2020): 169. http://dx.doi.org/10.31000/nyimak.v4i2.2358.

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Hidden Figures is a film based on the true story of three African American women who help NASA in the space race. The three African American women are Katherine G. Johnson, Mary Jackson, and Dorothy Vaughan. With the setting of the 1960s era, these three women are fighting against a climate of segregation (separation based on race or skin color) in their work environment (NASA). This study aims to explore Patricia Hill Collins’ theory of black feminism and to integrate it with Stella Ting-Toomey’s theory of face-negotiation. This research is based on a critical paradigm and uses a qualitative approach. Using Sara Mills’s critical discourse analysis as a data analysis technique, this study found a representation of black feminism in the film Hidden Figures. The discrimination experienced by the characters is in the form of racism, sexism, and classism. However, the resistance carried out by the characters is through self definition, not in safe spaces as mentioned by Collins. The characters also do not avoid conflict, but use a negotiation approach with a compromising style to achieve a win-win solution.Keywords: Black feminism, face-negotiation, racism, sexism, classism ABSTRAKHidden Figures adalah film yang diangkat berdasarkan kisah nyata tiga perempuan Afro-Amerika yang membantu NASA dalam space race. Ketiga perempuan Afro-Amerika itu adalah Katherine G. Johnson, Mary Jackson, dan Dorothy Vaughan. Dengan setting waktu era 1960-an, ketiga perempuan ini berjuang melawan iklim segregasi (pemisahan berdasarkan pada ras atau warna kulit) di lingkungan kerja mereka (NASA). Penelitian ini bertujuan untuk mendalami teori black feminism Patricia Hill Collins dan hendak mengintegrasikannya dengan teori face-negotiation Stella Ting-Toomey. Penelitian ini didasarkan pada paradigma kritis dan menggunakan penekatan kualitatif. Menggunakan analisis wacana kritis Sara Mills sebagai teknik analisis data, penelitian ini menemukan representasi black feminism di dalam film Hidden Figures. Diskriminasi yang dialami para tokoh adalah berupa racism, sexism, dan classism. Akan tetapi, perlawanan yang dilakukan para tokoh adalah melalui self definition, tidak dilakukan dalam safe spaces sebagaimana disinggung oleh Collins. Para tokoh juga tidak menghindari konflik, namun menggunakan pendekatan negosiasi dengan gaya compromising style dalam mencapai win-win solution.Kata Kunci: Black feminism, face-negotiation, racism, sexism, classism
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Gupta-Cassale, Nira. "Bearing Witness: Rape, Female Resistance, Male Authority and the Problems of Gender Representation in Popular Indian Cinema." Indian Journal of Gender Studies 7, no. 2 (September 2000): 231–48. http://dx.doi.org/10.1177/097152150000700206.

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Indian cinema in its preoccupation with rape shows a parallel between feminist resistance and nationalist resistance. While Mirch Masala (1985), set in pre-Independence rural India, is able to draw upon a mythology of nationalist resistance, which also, at the same time, 'sanctions and mediates the potentially subversive politics of female resistance', later films like Zakhmi Aurat (1988) and Damini (1993) qualify women's autonomous resistance by including male partners to witness, support and legitimise their actions. We conclude that in popular cinema 'the more radical the gesture of resistance, the more conservative the resolution'. All the same, as fanta sised reactions to rape enacted by women, they engage the politics of female resistance in ways that are relevant to our feminist understanding.
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Dissertations / Theses on the topic "Representation of rape in film"

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Pichaske, Kristin. "Colour adjustment : race and representation in post-apartheid South African documentary." Doctoral thesis, University of Cape Town, 2009. http://hdl.handle.net/11427/8248.

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The goal of this dissertation is to examine the process of racial transformation within South Africa's documentary film industry and to assess how the nation's shifting identity is both influenced by and reflected in documentary film. Drawing examples from a diverse collection of local and international films, I have examined changes in who is making documentaries in South Africa and how, as well as the representations of race that result. In particular, I have focused on how the balance of insider vs. outsider storytelling may be shifting and to what effect. At the same time, I have qualitatively examined the representations produced by black/insider filmmakers as compared to those of white/outsider filmmakers in order to assess the impact of the filmmaker's racial status on outcomes. Finally, I have investigated ways in which the tradition of white-onblack storytelling must change in order to satisfy the political shift that has taken place in South Africa and the cultural sensitivities that have resulted.
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Keenan, Sharon M. "A Choreographic Exploration of Race and Gender Representation in Film and Dance." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/1002.

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Through extensive research which culminates in a choreographic component, this thesis explores the lack of diverse representation within artistic and entertainment industries in regards to race and gender. In pursuit of a concise argument, most of the focus is on race and the conditioned view of gender as binary. Looking specifically at dance and film, it considers and analyzes why this absence persists, along with ways to ensure progress. The analysis and exploration unfolds in five central chapters: Research, Conception of the Dance, One and the Same, and Try It On Make It Fit. By detailing all that goes into creating a space that consistently hinders representation of minorities, this project will provide a better understanding of how minority communities are affected as a result. With this knowledge, I hope to present solutions that are simple with an attempt to demonstrate the urgency for new methods that expand portraits of diverse and authentic representations outside of the “norm.” The significance of this project lies in the articulation of an issue that is too often ignored. Change will not happen until it becomes unacceptable for people to remain ignorant and complacent on the subject.
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Haygarth, Natalie. "UK press discourses surrounding representations of rape in film and the subject of male violence against women." Thesis, University of East Anglia, 2018. https://ueaeprints.uea.ac.uk/67822/.

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Representations of rape in film have contributed significantly to the mass of representations of rape present in popular culture. The attention these have attracted, and continue to attract, from audiences, cultural critics and academics is substantial. What has often been overlooked, and what this study does, is explore how these films have been discussed across the U.K. national popular press (including individual newspapers’ online counterparts). Developing on the work of scholars working in the area of film publicity and critical reception who have suggested that film criticism may be socially impactful, this thesis contends that press discussions of films that include representations of rape contribute to discourses surrounding rape that circulate in society and culture and that, as such, they play a part in the construction of specific frameworks of thinking about rape and other forms of male violence against women. Paying particular attention to the language used to describe the rape, the language used to describe the female characters who are raped, and language used to describe the male perpetrators of rape, this thesis demonstrates how press discussions of mainstream films that include representations of rape can reinforce, propagate, challenge and reject rape myths and misconceptions surrounding rape and other forms of male violence against women.
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Rosén, Rebecca. "Rape-revenge film: "empowering" eller förnedrande sexualisering av kvinnor? : en jämförande analys av Paul Verhoevens Elle gentemot tradition." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-65607.

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Denna uppsats handlar om rape-revenge film. Närmare bestämt undersöker den hur de kvinnliga karaktärerna representeras i de utvalda filmerna och om, och i så fall hur, de kan ses som ”empowering” eller om det endast handlar om en sexualiserande porträttering av våld mot kvinnor. Uppsatsen använder sig utav en film- och textbaserad analys och den grundläggande teorin för uppsatsen är den feministiska filmteorin, samt teorier om kvinnor i rape-revenge. De tre filmerna som står i fokus är I Spit on Your Grave (Meir Zarchi, 1978), Ms. 45 (Abel Ferrara, 1981) och Elle (Paul Verhoeven, 2016). Slutresultatet visar att de tre filmerna inte porträtterar deras våldtäktsscener på ett sexualiserat eller erotiskt sätt utan snarare framhäver brutaliteten i våldet för åskådarna i form av bland annat karaktärsidentifiering med offret istället för våldtäktsmannen. Däremot, skiljer sig filmerna i hur deras respektive kvinnliga karaktärer väljer att hämnas och huruvida deras agerande kan ses som empowering eller inte. Av de tre filmerna är Elle den som tydligast uppvisar olika versioner av empowering och hur det som stärker en person är väldigt individuellt.
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Hafström, Theo, and Maja Jonsson. "Svarta kroppar och vita blickar : En komparativ studie av samhällskritiken i filmerna Get Out och Play." Thesis, Uppsala universitet, Medier och kommunikation, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-448087.

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There is an ongoing debate in the media about whether or not caucasian filmmakers should be telling stories about racism and the black experience. This study aims to further the discussion by examining and comparing social criticism in the two feature-length films Play and Get Out, made by caucasian filmmaker Ruben Östlund and African American filmmaker Jordan Peele respectively. Using a multimodal critical discourse analysis grounded in Stuart Hall and Richard Dyer’s theories on representation and stereotyping, the study investigates what discourses regarding race and stereotypes are present in the films. The study shows that both films raise social criticism by references to the historical and contemporary racial discourse and depicting how the white characters act upon their racial prejudice. However, while Östlund attempts to have his audience reflect on their own behaviour and prejudices, the racist implications made by the white characters in Play, along with the black characters stereotypical manners, are often left unconfrontented and therefore reconstructs the racial order. Peele, however, manages to deconstruct the racial order through usage of more creative interdiscursive elements which highlight the importance of a shared black experience, exposing the privileged and racially charged actions of the white characters in Get Out and the vulnerable position of its black characters.
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Tobin, Erin C. "Campy Feminisms: The Feminist Camp Gaze in Independent Film." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1594039952349499.

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Camp, Nathan. "Not So Elementary: An Examination of Trends in a Century of Sherlock Holmes Adaptations." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157536/.

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This study examines changes over time in 40 different Sherlock Holmes films and 39 television series and movies spanning from 1900 to 2017. Quantitative observations were mixed with a qualitative examination. Perceptions of law enforcement became more positive over time, the types of crime did not vary, and representation of race and gender improved over time with incrementally positive changes in the representation of queer, mentally ill, and physically handicapped individuals. The exact nature of these trends is discussed. Additionally, the trends of different decades are explored and compared. Sherlock Holmes is mostly used as a vehicle for storytelling rather than for the salacious crimes that he solves, making the identification of perceptions of crime in different decades difficult. The reasons for why different Sherlock Holmes projects were created in different eras and for different purposes are discussed.
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Chatelain, Megan E. "Minority Representations in Crime Drama: An Examination of Roles, Identity, and Power." Scholarly Commons, 2020. https://scholarlycommons.pacific.edu/uop_etds/3716.

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The storytelling ability of television can be observed in any genre. Crime drama offers a unique perspective because victims and offenders change every episode increasing stereotypes with each new character. In other words, the more victims and criminals observed by the audience, the more likely the show creates the perception of a mean world. Based on previous literature, three questions emerged which this study focused on by asking the extent of Criminal Minds’ ability to portray crime accurately compared to the Federal Bureau of Investigations Uniform Crime Report (UCR) and the Behavioral Analysis Unit’s (BAU-4) report on serial murderers and how those portrayals changed over the fifteen years of the show. A content analysis was conducted through the lens of cultivation theory, coding 324 episodes which produced a sample size of 354 different cases to answer the research questions. Two additional coders focused on the first, middle, and last episodes of each season (N=45) for reliability. The key findings are low levels of realism with the UCR and high levels of realism with the BAU-4 statistics. Mean-world syndrome was found to be highly likely to be cultivated in heavy viewers. Finally, roles for minority groups did improve overtime for Black and Brown bodies, yet Asian bodies saw a very small increase in representation. LGBT members were nearly nonexistent. The findings indicated that there is still not enough space in television for minority roles and found that the show perpetuated stereotypes. Additional implications and themes include a lack discourse on violence and erasure of sexual assault victims.
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Bullard, Angela Denise. "The representation of rape in Sir Philip Sidney's Arcadias." CSUSB ScholarWorks, 2005. https://scholarworks.lib.csusb.edu/etd-project/2826.

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This thesis examines the complex and conflicting arguments surrounding the crime of rape in early modern England and how the important literary texts, Sir Philip Sidney's Arcadias, explore the issue of rape. The thesis explores Sidney's attitude toward a system that sanctioned systematic sexual violence towards women as expressed in the text; as part of this it explores the way that the text differentiates rape from seduction.
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Rafferty, Barclay. "Adaptations of Othello : (in)adaptability and transmedial representations of race." Thesis, De Montfort University, 2015. http://hdl.handle.net/2086/12075.

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This thesis examines adaptations of William Shakespeare’s The Tragedy of Othello, the Moor of Venice (c. 1601–4) across media, comparing cinematic, televisual, musical, visual art, and online adaptations, among others, in an endeavour to determine its adaptability in various periods and cultural and societal contexts, with a focus on the issue of race. Shakespeare’s seeming endorsement of a racial stereotype has proved to be challenging in adaptations, which have not always been successful in either reproducing or interrogating the issue, despite the fact that the play has continuously been engaged with across media, periods, and cultures. Resultantly, the thesis considers the ways in which the race issues present in Othello have been exploited, adapted ‘faithfully’, ignored, and negotiated in different contexts. Sustained consideration of representations of the race issues of the play from a Western perspective has not been undertaken previously and this thesis analyses the use of Othello as a vehicle for commenting on and reflecting contemporary current events through the lenses of adaptation theory and the singular history that adaptations of Shakespeare’s work have. Initially, the thesis explores national readings of screen adaptations (from the United States, Great Britain, and outside the Anglo-American gaze), before grouping adaptations by media (such as music and online videos, as well as allusions in other media), deducing why specific adaptive trends have endured in Othellos, examining the relationship between the adaptability of the play and the media in which it is placed. A pertinent question addressed is: what is Othello’s place in adaptations of Shakespeare’s work – and how adaptable is it when both black and white performers and adapters perpetuate racial stereotypes? One conclusion drawn is that – despite its prevalence across media – Othello is inadaptable when its race issues are linked – through various methods – to the contexts in which it is placed, changing them in the process.
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Books on the topic "Representation of rape in film"

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Council, Human Science Research, ed. Static: Race and representation in post-apartheid music, media and film. Cape Town, South Africa: HSRC Press, 2012.

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Cheney, Deborah. Visual rape. Canterbury: University of Kent, 1990.

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Law in film: Resonance and representation. Urbana: University of Illinois Press, 1999.

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Screening Ireland: Film and television representation. Manchester: Manchester University Press, 2000.

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Rhetoric and representation in nonfiction film. Cambridge, U.K: Cambridge University Press, 1997.

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Public rape: Representing violation in fiction and film. London: Routledge, 2004.

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Class representation in modern literature and film. New York: Palgrave Macmillan, 2006.

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Gandal, Keith. Class Representation in Modern Fiction and Film. New York: Palgrave Macmillan US, 2007. http://dx.doi.org/10.1057/9780230604193.

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Watching rape: Film and television in postfeminist culture. New York: New York University Press, 2001.

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Langah, Nukhbah Taj, and Roshni Sengupta. Film, Media, and Representation in Postcolonial South Asia. London: Routledge India, 2021. http://dx.doi.org/10.4324/9781003167655.

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Book chapters on the topic "Representation of rape in film"

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Haggith, Toby, and Richard Smith. "Sons of Our Empire: Shifting Ideas of ‘Race’ and the Cinematic Representation of Imperial Troops in World War I." In Empire and Film, 35–53. London: British Film Institute, 2011. http://dx.doi.org/10.1007/978-1-349-92498-1_3.

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Guy-Bray, Stephen. "The Rape of Lucrece." In Shakespeare and Queer Representation, 99–126. Abingdon, Oxon; New York, NY: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429423802-5.

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Lacey, Nick. "Representation and Film." In Introduction to Film, 320–39. London: Macmillan Education UK, 2016. http://dx.doi.org/10.1007/978-1-137-46386-9_8.

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Lacey, Nick. "Film and Representation." In Introduction to Film, 263–94. London: Macmillan Education UK, 2005. http://dx.doi.org/10.1007/978-0-230-21155-1_7.

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Arya, Rina. "Abjection and Film." In Abjection and Representation, 130–55. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9780230389342_7.

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Benyahia, Sarah Casey, John White, and Freddie Gaffney. "Representation and ideology." In A Level Film Studies, 121–50. London; New York: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429324628-7.

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Walden, Victoria Grace. "Holocaust Film Beyond Representation." In Cinematic Intermedialities and Contemporary Holocaust Memory, 13–69. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-10877-9_2.

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Dutta, Nandana. "Rape victims, representation and resistance in India." In Re-writing Women as Victims, 210–22. Abingdon, Oxon ; New York, NY : Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9781351043601-16.

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O’Sullivan, Carol. "Subtitling and the Ethics of Representation." In Translating Popular Film, 102–42. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230317543_5.

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Skadegård Thorsen, Tess Sophie. "Gendered Representation in Danish Film." In Women in the International Film Industry, 111–30. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-39070-9_7.

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Conference papers on the topic "Representation of rape in film"

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Muldoon, Frank, and Sumanta Acharya. "Direct Numerical Simulation of a Film Cooling Jet." In ASME Turbo Expo 2004: Power for Land, Sea, and Air. ASMEDC, 2004. http://dx.doi.org/10.1115/gt2004-53502.

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Direct Numerical Simulation (DNS) of a film cooling jet is presented. In DNS no turbulence models are introduced, and the turbulent length scales in the flow field are fully resolved. Therefore the calculations are expected to provide an accurate representation of reality, and the numerical data can be used to understand the flow physics and to compute turbulence budgets. In this paper, a DNS for an inclined jet at a jet Reynolds number of 3068 is presented. Statistics for the various budgets in the turbulence kinetic energy and dissipation rate equations are computed and presented to provide a basis for improvements to the turbulence models. A new wall function based on DNS results for a film cooling flow is presented.
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Hee, Jee Loong, R. Santhosh, Kathy Simmons, Graham Johnson, David Hann, and Michael Walsh. "Oil Film Thickness Measurements on Surfaces Close to an Aero-Engine Ball Bearing Using Optical Techniques." In ASME Turbo Expo 2017: Turbomachinery Technical Conference and Exposition. American Society of Mechanical Engineers, 2017. http://dx.doi.org/10.1115/gt2017-63813.

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In a civil aero-engine transmission system a number of bearings are used for shaft location and load support. A bespoke experimental test facility in the University of Nottingham’s Gas Turbine and Transmissions Research Centre (G2TRC) was created to investigate oil shedding from a location bearing. An engine representative ball bearing was installed in the rig and under-race lubrication was supplied via under-race feed to three locations under the inner race and cage. The oil was supplied in an engine representative manner but the delivery system was modified to provide circumferentially even flow. An electromagnetic load system was designed and implemented to allow engine representative axial loads between 5 and 35 kN to be applied to the bearing. In this phase of testing the rig was operated at shaft speeds between 1,000 rpm and 7,000 rpm for a range of oil flow rates and low and high load conditions. The rig was designed with good visual access and high speed imaging was used to investigate film formation and movement on surfaces close to the bearing. This paper presents images and qualitative observations of thin film formed on the static surfaces forming the outer-periphery of the bearing compartment as well as the gap between orbiting cage and static outer race. Quantitative film thickness was obtained at two circumferential locations (90° and 270° from top dead centre) and three axial locations, through sophisticated analysis of the high speed images. The effect on film thickness of the varied parameters rotational speed, axial load and oil feed input flow rate are presented in this paper. It was observed that for all axial planes of measurement in both co-current and counter-current regions film thickness decreases with increase in shaft rotational speed. At 5,000 and 7,000 rpm film thicknesses are around 0.75 mm – 1 mm and are similar at 90° and 270°; at 3,000 rpm films tend to be somewhat thicker at around 1.5 mm – 2 mm and are thicker in the counter current region, particularly closer to the bearing. It is suggested that at higher shaft speeds interfacial shear dominates whereas at lower speed the effect of gravity in slowing the film in the counter-current region causes a measureable difference. It was further observed that increasing the input oil flow rate from 5.2 litres per minute to 7.3 litres per minute did not produce significant effect on film thickness. However, the increase of axial bearing load from 10 kN to 30 kN yielded thicker films at the location above the cage. In all cases there was waviness on the film surface at the bearing outer periphery; imaging was not sufficient to see if the film surface close to the bearing is wavy.
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Vrasandyka, Theo, and Suzy Azeharie. "Representation of Local Wisdom in Film." In International Conference on Economics, Business, Social, and Humanities (ICEBSH 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210805.119.

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Alqefl, Mahmood H., Kedar P. Nawathe, Pingting Chen, Rui Zhu, Yong W. Kim, and Terrence W. Simon. "Effects of Endwall Film Coolant Flow Rate on Secondary Flows and Coolant Mixing in a First Stage Nozzle Guide Vane." In ASME Turbo Expo 2020: Turbomachinery Technical Conference and Exposition. American Society of Mechanical Engineers, 2020. http://dx.doi.org/10.1115/gt2020-15746.

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Abstract Modern gas turbines are subjected to very high thermal loading. This leads to a need for aggressive cooling to protect components from damage. Endwalls are particularly challenging to cool due to a complex system of secondary flows near them that wash and disrupt the protective coolant films. This highly three-dimensional flow not only affects but is also affected by the momentum of film cooling flows, whether injected just upstream of the passage to intentionally cool the endwall, or as combustor cooling flows injected further upstream in the engine. This complex interaction between the different cooling flows and passage aerodynamics has been recently studied in a first stage nozzle guide vane. The present paper presents a detailed study on the sensitivity of aero-thermal interactions to endwall film cooling MFR (cooling mass flow to mainstream flow ratio). The test section represents a first stage nozzle guide vane with a contoured endwall and endwall film cooling injected just upstream of it. The test section also includes an engine-representative combustor-turbine interface geometry with combustor cooling flows injected at a constant rate. The approach flow conditions represent flow exiting a low-NOx combustor. Adiabatic surface thermal measurements and in-passage velocity and thermal field measurements are presented and discussed. The results show the dynamics of passage vortex suppression and the increase of impingement vortex strength as MFR changes. The effects of these changes of secondary flows on coolant distribution are presented.
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Yulianeta, Ms. "Ronggeng: Cultural Artifact and Its Representation in Indonesian Film." In 2018 3rd International Conference on Education, Sports, Arts and Management Engineering (ICESAME 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/amca-18.2018.134.

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Chen, Yugang. "Digital movie clothing with film clothing visual art representation." In 2016 International Conference on Economics, Social Science, Arts, Education and Management Engineering. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/essaeme-16.2016.49.

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Aflah, Hasnil, and Rahmanita Ginting. "Representation of Islamic Values in Film Duka Sedalam Cinta." In International Conference on Media and Communication Studies(ICOMACS 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icomacs-18.2018.7.

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Vasilj, Andrej, Sebastian Schuster, and Alexander White. "The Influence of Wake Chopping on Wet-Steam Turbine Modelling." In ASME Turbo Expo 2020: Turbomachinery Technical Conference and Exposition. American Society of Mechanical Engineers, 2020. http://dx.doi.org/10.1115/gt2020-15766.

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Abstract The formation of water droplets within condensing steam turbines is a complex process that occurs at supersaturated, non-equilibrium conditions and is influenced by the unsteady segmentation of blade wakes by successive blade rows. This is often referred to as ‘wake chopping’, and its effect on the condensation process is the subject of this paper. The practical significance is that thermodynamic ‘wetness losses’ (which constitute a major fraction of the overall loss) are strongly affected by droplet size. Likewise, droplet deposition and the various ensuing two-phase phenomena (such as film migration and coarse-water formation) also depend on the spectrum of droplet sizes in the primary fog. The majority of wake-chopping models presented in the literature adopt a stochastic approach, whereby large numbers of fluid particles are tracked through (some representation of) the turbine flowfield, assigning a random number at each successive blade row to represent the particle’s pitchwise location, and hence its level of dissipation. This study contributes to the existing literature by adding: (a) a comprehensive study of the sensitivity to key model parameters (e.g., blade wake shape and wake decay rate); (b) an assessment of the impact of circumferential pressure variations; (c) a study of the implications for wetness losses and (d) a study of the implications for deposition rates.
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Christodoulou, Yannis, Nikoletta Mavrogeorgi, and Petros Kalogirou. "Use of Ontologies for Knowledge Representation of a Film Scene." In 2008 3rd International Conference on internet and Web Applications and Services (ICIW). IEEE, 2008. http://dx.doi.org/10.1109/iciw.2008.104.

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Yulianeta, Yulianeta. "Between Erotic and Sensual - Representation of Ronggeng in Indonesian Film." In Tenth International Conference on Applied Linguistics and First International Conference on Language, Literature and Culture. SCITEPRESS - Science and Technology Publications, 2017. http://dx.doi.org/10.5220/0007175307970801.

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