Please use this identifier to cite or link to this item: https://anrows.intersearch.com.au/anrowsjspui/handle/1/18603
Record ID: d3b18465-8af3-466a-9484-2f7fe98cd2a0
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dc.contributor.authorByrne, Katherineen
dc.contributor.authorTaddeo, Julie Anneen
dc.date.accessioned2022-06-30T23:40:29Z-
dc.date.available2022-06-30T23:40:29Z-
dc.date.issued2019en
dc.identifier.citationVolume 14, Issue 3en
dc.identifier.urihttps://anrows.intersearch.com.au/anrowsjspui/handle/1/18603-
dc.description.abstractThis article explores the rape plotlines in Poldark (2015–), Outlander (2014–) and Banished (2015), which mostly take place prior to #MeToo and offer a pre-watershed insight into a time when rape could still be romanticised and eroticised in a way which might not, or at least should not, be possible after October 2017. However, these plots opened up conversations about consent, rape myths and rape fantasy and hence form part of the dialogue and increasingly public awareness about sexual violence which made #MeToo possible in the first place. How fans respond to rape narratives pre- and post-#MeToo is also considered.en
dc.languageenen
dc.publisherSage Publicationsen
dc.relation.ispartofCritical Studies in Television: The International Journal of Television Studiesen
dc.titleCalling #TimesUp on the TV period drama rape narrativeen
dc.typeReporten
dc.identifier.doihttps://doi.org/10.1177/1749602019856535en
dc.identifier.catalogid16019en
dc.subject.keywordnew_recorden
dc.subject.keywordInvalid URLen
dc.identifier.sourceCritical Studies in Television: The International Journal of Television Studiesen
dc.date.entered2020-01-16en
Appears in Collections:Reports

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