Next Article in Journal
Tools for Tooling: Digital Fabrication Technology as the Innovation Enabler
Previous Article in Journal
Glass—A Material Practice in the Anthropocene
Previous Article in Special Issue
On Dissipation: Goodbye, Dragon Inn and the “Death of Cinema”
Article Menu
Issue 1 (March) cover image

Export Article

Open AccessArticle

Representing Rape Trauma in Film: Moving beyond the Event

Department of English and Film Studies, University of Alberta, Edmonton, AB T6G 2R3, Canada
Received: 28 September 2018 / Revised: 19 December 2018 / Accepted: 4 January 2019 / Published: 9 January 2019
(This article belongs to the Special Issue Memory, Affect, and Cinema)
Full-Text   |   PDF [213 KB, uploaded 9 January 2019]


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. View Full-Text
Keywords: trauma; memory; affect; rape; Hollywood cinema trauma; memory; affect; rape; Hollywood cinema
This is an open access article distributed under the Creative Commons Attribution License which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited (CC BY 4.0).

Share & Cite This Article

MDPI and ACS Style

Spallacci, A. Representing Rape Trauma in Film: Moving beyond the Event. Arts 2019, 8, 8.

Show more citation formats Show less citations formats

Note that from the first issue of 2016, MDPI journals use article numbers instead of page numbers. See further details here.

Related Articles

Article Metrics

Article Access Statistics



[Return to top]
Arts EISSN 2076-0752 Published by MDPI AG, Basel, Switzerland RSS E-Mail Table of Contents Alert
Back to Top