Documenting Gendered Violence: Representations, Collaborations, and Movements

Documenting Gendered Violence explores the intersections of documentary and gendered violence. Several contributors investigate representations through grounded textual analyses of key films and videos, including Sex Crimes Unit (2011) and The Invisible War (2012),and other documentary texts including Youtube, photographs, and theater. Other chapters use analysis and interviews to explore how gender violence issues impact production and how these documentaries become part of collaborations and awareness movements.

Table of Contents:
Acknowledgements Notes on Contributors Chapter 1 Introduction: The Intersections of Documentary and Gendered Violence Heather McIntosh Chapter 2 Creating a Sense of Reality in Sex Crimes Unit Lisa Cuklanz Chapter 3 Calling the Consumer Activist, Consuming the Trafficking Subject: Call + Response and the Terms of Legibility Annie Isabel Fukushima and Julietta Hua Chapter 4 'The Nation Wants to Know!': Documenting Sexual Violence on Indian Primetime Television News Swati Bandi Chapter 5 When Solidarity Melts into Air: Philippines-Born Women Migrants in Australia Shirlita Africa Espinosa Chapter 6 Global Sex Work, Victim Identities, and Cybersexualities Wendy S. Hesford Chapter 7 'This is about Way More than Bullies': User-Generated Video, Narrative Multiplicity, and LGBTQ Youth Identity Lauren S. Berliner Chapter 8 A tráves de mis ojos: Fototestimonios with Children Growing Up in Immigrant and Migrant Communities in Northern California Natalia Deeb-Sossa Chapter 9 Staging Gender Violence in the Congo: Reading Lynn Nottage's Ruined as a Documentary Drama Phyllisa Deroze Chapter 10 Making The Invisible War Visible Laura Vazquez Chapter 11 The Committed Documentary and Contemporary Distribution: A Look at Sin by Silence Heather McIntosh Chapter 12 Anatomy of Filmmaking Practice: Documentary and Gendered Violence Ruth Goldman Filmography Index

About the Author :
Lisa M. Cuklanz is Chair of the Department of Communication at Boston College, USA, and is the co-editor of Violence, Global Media: Feminist Analyses of Gendered Representations (2009) with Sujata Moorti. She is also the author of Rape on Prime Time: Television, Masculinity, and Sexual Violence (2000) and Rape on Trial: How the Mass Media Construct Legal Reform and Social Change (1996). Heather McIntosh is Assistant Professor of Mass Media at Minnesota State University, Mankato, USA. Her research has appeared in Journal of Popular Film & Television, Quarterly Review of Film and Video, and Popular Music & Society. She also writes as a blogger for PBS's P.O.V. series.

Review :
Concentrating on gender and violence as documentary themes, Documenting Gendered Violence surveys current critical and scholarly positions on a vital area of contemporary media and, at the same time, provides timely analysis of an urgent socio-cultural problem. The interdisciplinary breadth of approaches represented by the cumulative authorship and international range of topics collected here make this book unique and valuable to anyone interested in contemporary documentary film and media, the traditions of feminist documentary, feminist media studies, and the legal, historical, therapeutic and aesthetic discourses of witnessing and testifying. Documenting Gendered Violence is a major contribution to both documentary studies and feminist studies of gender and violence. In bringing together these two areas, this timely – and politically urgent – collection of essays focuses much needed scholarly attention on global documentary productions dealing with gendered violence. Exploring a rich and varied number of documentary texts from around the world, and employing a range of critical approaches, Documenting Gendered Violence raises crucial questions about the possibilities of documentary form and practice. I strongly recommend this book to anyone who has an interest in the socially committed documentary and a stake in the struggle against gender-based violence. An important and engaging collection. The contributions examine not only the representation of violence in documentary films, but also the way documentary films might intervene into these representations, exploring an under-theorized area of both violence and documentary scholarship.