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Introduction

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Abstract

How can the depiction of anything as repulsive as rape be a part of art or entertainment? Jonathan Kaplan’s The Accused (1988) reaches its disturbing climax as we are shown in a flashback the brutal gangbanging of a young woman, Sarah. Earlier on in the film, the Deputy District Attorney, suspecting that Sarah would not appear convincing at court, made a deal with the defence attorneys of the rapists. The charge had been changed to reckless endangerment leading to 2½–5 years prison sentences. But this is not enough for Sarah; she insists on having proper satisfaction for her humiliation: the fact of her rape must go on record. In a new trial, the charge is criminal solicitation: a band of spectators encouraged the rapists by shouting, chanting, and clapping. The flashback is motivated by a statement given in the witness box by a young man who, like many other people in the bar in which the rape took place, passively watched it happen.

Keywords

Physical Violence Prison Sentence Defence Attorney Structural Violence Retributive Justice 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

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Notes

  1. 1.
    Nils Robert af Ursin in Työn-Juhla, a festive publication of Finnish Vocational Associations 11, 1912. Quoted in Eila Anttila, Sakari Toiviainen, and Kari Uusitalo, Taidetta valkealla kankaalla: suomalaisia elokuvatekstejä 1896–1950, (Helsinki: Suomen elokuva-arkisto ja Painatuskeskus), 1995.Google Scholar
  2. 2.
    Jennifer Gillan, Television and New Media: Must-Click TV, (New York and London: Routledge, 2011), p. 118Google Scholar
  3. 4.
    Barrie Gunter, Dimensions of Television Violence, (Aldershot: Gower Publishing, 1985), p. 3.Google Scholar
  4. 5.
    Steven J. Kirsch, Children, Adolescents, and Media Violence, (Thousand Oakes, London, and New Delhi: Sage Publications, 2006), p. 10.Google Scholar
  5. 6.
    Kaj Björkqvist, Karin Österman and Ari Kaukiainen, “The Development of Direct and Indirect Aggressive Strategies in Males and Females,” in Kaj Björkqvistand Pirkko Niemelä, Of Mice and Women: Aspects of Female Agression, (San Diego: Academic Press Inc., 1992), p. 52.Google Scholar
  6. 8.
    David Bordwell, “Who Blinked First?” in David Bordwell, Poetics of Cinema, (New York and London: Routledge, 2008), p. 335. http://www.davidbordwell.net/blog/2008/03/05/minding-movies/Google Scholar

Copyright information

© Henry Bacon 2015

Authors and Affiliations

  1. 1.University of HelsinkiFinland

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