Contents -- List of illustrations and captions -- Contributors -- Introduction: Why Rape? -- I. CANONICAL WORKS AND AUTEURS -- Chapter One: Screen/Memory: Rape and Its Alibis in Last Year at Marienbad -- Chapter Two: The Fault Lines of Vision: Rashomon and The Man Who Left His Will on Film -- Chapter Three: Buñuel: Storytelling, Desire and the Question of Rape -- Chapter Four: Materiality and Metaphor: Rape in Anne Claire Poirier's Mourir à tue-tête and Jean-Luc Godard's Weekend -- Chapter Five: Sins of Permission: The Union of Rape and Marriage in Die Marquise von O and Breaking the Waves -- Chapter Six: Rough Awakenings: Unconscious Women and Rape in Kill Bill and Talk to Her -- II. ENGLISH-LANGUAGE INDEPENDENT CINEMAS -- Chapter Seven: Jane Campion's Women's Films: Art Cinema and the Postfeminist Rape Narrative -- Chapter Eight: Boys Don't Get Raped -- Chapter Nine: "If It Was a Rape, Then Why Would She Be a Whore?" Rape in Todd Solondz' Films -- III. CASE STUDY: CINÉMA BRUT AND THE NEW FRENCH EXTREMISTS -- Chapter Ten: "Typically French"?: Mediating Screened Rape to British Audiences -- Chapter Eleven: On Watching and Turning Away: Ono's Rape, Cinéma Direct Aesthetics, and the Genealogy of Cinéma Brut -- Chapter Twelve: Uncanny Horrors: Male Rape in Bruno Dumont's Twentynine Palms -- Chapter Thirteen: Sexual Trauma and Jouissance in Baise-Moi -- Chapter Fourteen: Shame and the Sisters: Catherine Breillat's À Ma Soeur! (Fat Girl) -- Notes -- Index -- A -- B -- C -- D -- E -- F -- G -- H -- I -- J -- K -- L -- M -- N -- O -- P -- Q -- R -- S -- T -- U -- V -- W -- Y -- Z.