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Jumpcut rape revenge12/31/2023 ![]() ![]() Jennifer Hills enduring the second of three rapes in the original I Spit on Your Grave.Įxperiencing the aftermath of rape at a high-school football game in the Straw Dogs remake. A scene from Sam Peckinpah’s Cross of Iron. ![]() 2 JUMP CUTĬastration revenge as a prelude to group revenge: this man, recently castrated by his rape victim, is about to be further punished by a group of female soldiers. Here you will find options to view and activate subscriptions, manage institutional settings and access options, access usage statistics, and more.The rape-revenge film: biocultural implications, p. If you believe you should have access to that content, please contact your librarian.įor librarians and administrators, your personal account also provides access to institutional account management. The institutional subscription may not cover the content that you are trying to access. Oxford Academic is home to a wide variety of products. View the institutional accounts that are providing access.View your signed in personal account and access account management features.Some societies use Oxford Academic personal accounts to provide access to their members.Ĭlick the account icon in the top right to: See below.Ī personal account can be used to get email alerts, save searches, purchase content, and activate subscriptions. Some societies use Oxford Academic personal accounts to provide access to their members. If you do not have a society account or have forgotten your username or password, please contact your society. ![]() Do not use an Oxford Academic personal account. When on the society site, please use the credentials provided by that society.If you see ‘Sign in through society site’ in the sign in pane within a journal: Many societies offer single sign-on between the society website and Oxford Academic. Society member access to a journal is achieved in one of the following ways: If you cannot sign in, please contact your librarian. If your institution is not listed or you cannot sign in to your institution’s website, please contact your librarian or administrator.Įnter your library card number to sign in. Following successful sign in, you will be returned to Oxford Academic.When on the institution site, please use the credentials provided by your institution.Select your institution from the list provided, which will take you to your institution's website to sign in.Click Sign in through your institution.Shibboleth / Open Athens technology is used to provide single sign-on between your institution’s website and Oxford Academic. This authentication occurs automatically, and it is not possible to sign out of an IP authenticated account.Ĭhoose this option to get remote access when outside your institution. Typically, access is provided across an institutional network to a range of IP addresses. If you are a member of an institution with an active account, you may be able to access content in one of the following ways: Get help with access Institutional accessĪccess to content on Oxford Academic is often provided through institutional subscriptions and purchases. Drawing on recent discussions of the anxious “assemblage” of femininity in popular Hindi cinema this chapter focuses on issues raised by Khoon Bhari Maang’s presentation of the make-over conceit. In the transnational film remake, Khoon Bhari Maang, the heroine’s transformation is more extreme – in accordance with her revenge, which is more violent – and also more complex, in terms of cultural identity, since her journey, from frumpy Aarti to the sultry Jyoti, necessitates a negotiation of traditional/modern and Indian/non-Indian modes of womanhood (and this also resonates with the ‘reinvention’ of its star, Rekha, in the late 1970s). ![]() In Return to Eden, a treacherous tennis champ marries a meek and dowdy heiress, Stephanie Harper, and throws her into alligator-infested waters she survives, has plastic surgery, becomes a supermodel, and returns to exact revenge on her husband. Rakesh Roshan’s Khoon Bhari Maang ( Blood-Smeared Forehead, India, 1988) is closely modelled on the iconic Australian television 3-part, mini-series Return to Eden (Karen Arthur, Kevin James Dobson, 1983), itself a self-conscious appropriation and strategic indigenisation of the melodramatic conventions and “feminised address” of the prime time American soap opera. ![]()
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