The Female Avenger, Women's Anger and Rape-Revenge Film and Television

Margrethe Bruun Vaage's The Female Avenger, Women's Anger and Rape-Revenge Film and Television offers a fresh and compelling exploration of rape-revenge films through the lens of female anger. Grounded in cognitivist film theory, the book examines how these films engage audiences emotionally and morally. Vaage argues that these films empower women by presenting their anger as a transformative force, beyond mere victimization. In doing so, she challenges traditional feminist interpretations of the genre and contributes new insights to the ongoing debate about the ethics of depicting sexual violence. The book fills a significant gap in existing scholarship by offering a cognitivist analysis that centers on anger, the responses of female viewers, and the political and empowering potential of rape-revenge films—approaches that have not been thoroughly explored before.Vaage uses a multidisciplinary framework including psychoanalytic and feminist film theory, psychology, and the philosophy of emotion to explore rape-revenge films, although her analysis is primarily anchored in cognitivist film theory, which serves as the backbone for examining the core emotional response these films elicit and assessing its function. The central premise of the book is understanding that this anger, along with its cultural and political implications, is crucial to comprehending the persistent and contentious presence of rape-revenge narratives in popular culture. In the introduction, Vaage sets the stage by defining “vindictive anger” as a morally complex yet empowering force, especially for female viewers (1–11). She argues that this anger is not merely a personal reaction to trauma but a broader response to systemic injustices, making it a potent agent for social change. This framing is essential, as it positions anger as both a personal and a political force, laying the groundwork for the rest of the book.The book's seven chapters explore various aspects of female anger in rape-revenge films, building a cohesive argument. The first chapter, “The Affective Structure of the Rape-Revenge Film,” examines the emotional dynamics that engage the female spectator, emphasizing how these films elicit intense satisfaction through the act of revenge. The second chapter, “On Punishment, Fiction, and Femininity,” investigates the portrayal of punishment and its complex relationship to femininity. Vaage uses characters such as Lisbeth Salander from the Swedish film adaptations of Stieg Larsson's trilogy, The Girl with the Dragon Tattoo (Niels Arden Oplev, 2009), The Girl Who Played with Fire (Daniel Alfredson, 2009), and The Girl Who Kicked the Hornet's Nest (Daniel Alfredson, 2009), to illustrate how in rape-revenge films, female characters transcend traditional gender roles through acts of punishment. The third chapter, “On Revenge: Rape-Revenge Storylines and the Evolutionary Origin of Payback,” connects revenge to evolutionary psychology, arguing that the primal emotions driving these narratives reflect broader human tendencies. The fourth chapter, “On Anger: A Philosophical Exploration of Women's Anger and Its Functions,” delves into the philosophical aspects of women's anger, presenting it as a crucial narrative force that positions women as active agents of justice rather than passive victims. The fifth chapter, “Race and the Rape-Revenge Film,” addresses the intersection of race and gender, highlighting Black female avengers and linking them to Blaxploitation heroines, bringing a much-needed focus to the often-overlooked topic of race in rape-revenge scholarship. The sixth chapter, “Containing the Threat of the Female Avenger On-Screen,” examines how films use containment strategies to neutralize the perceived threat of female avengers, often diluting their radical potential. The final chapter, “Emotions in Contemporary Film Theory and Rape-Revenge Film as Exploitative,” critiques the ethical considerations surrounding the graphic portrayal of violence in rape-revenge films. Vaage argues for a more nuanced understanding of these portrayals, especially from the perspective of the female spectator, challenging the notion that such films are merely exploitative.The Female Avenger offers many unique perspectives into the rape-revenge genre, but several stand out as particularly compelling contributions. Vaage's exploration of graphic rape depictions is a key intervention in rape-revenge film scholarship. The portrayal of sexual violence has long divided scholars: some view it as exploitative and as reinforcing the victimization of women in media, while others argue that omitting it could reinforce its taboo status. Vaage questions whether withholding the depiction of rape serves the victim or the rapist, pointing out the inconsistency in how torture and murder are often shown; yet rape remains taboo. She critiques films such as Irreversible (Gaspar Noé, 2002) for using rape for shock value, calling such portrayals exploitative. In contrast, she highlights Holiday (Isabella Eklöf, 2018) as an example where the detailed depiction of rape is essential to convey the harsh realities of an abusive relationship. Vaage argues that while graphic scenes must be handled with care, they can be crucial in validating the victim's experience, fueling the audience's anger, and intensifying the emotional satisfaction of revenge. She concludes that showing rape can be necessary to fully convey the gravity of the crime and the power of the subsequent revenge, insofar as it serves a meaningful narrative purpose.Vaage's analysis of race is another essential contribution. Building on the work of scholars such as Claire Henry, who grappled with the absence of women of color in rape-revenge films, Vaage makes a pivotal connection between the figure of the female avenger and the Black heroine of Blaxploitation cinema, particularly as embodied by Pam Grier in Coffy (Jack Hill, 1973) and Foxy Brown (Jack Hill, 1974). This link is essential as it not only brings to light the overlooked experiences of Black women in rape-revenge films but also validates their anger, which is often dismissed or ignored due to stereotypes such as the Sapphire trope (Black women as domineering). Vaage's analysis addresses the underrepresentation of Black victims in rape-revenge films, broadening the scope of scholarship to incorporate a more detailed understanding of race, gender, and identity within the genre.Ultimately, the strength of The Female Avenger lies in its fresh perspective and incisive critique of rape-revenge films. Vaage challenges the notion that these films are merely male fantasies and reveals their deeper significance for female filmmakers and viewers. The book demonstrates that rape-revenge films address not only the crime itself but also the culturally complex response of anger, offering a fresh understanding of the genre's emotional and political dimensions.However, one limitation of the book is the relatively small number of films analyzed in depth. While Vaage's analyses are insightful, a broader exploration, particularly of recent and post-#MeToo films, would enhance her study. Films such as Promising Young Woman (Emerald Fennell, 2020), M.F.A. (Natalia Leite, 2017), and Violation (Dusty Mancinelli and Madeleine Sims-Fewer, 2020) highlight systemic misogyny and rape culture, often favoring realist portrayals over fantastical retribution. Thus, a more extensive examination of more contemporary films could provide valuable insights into how female anger is portrayed and how it resonates with today's sociopolitical climate, potentially refining some of Vaage's conclusions about the dichotomy between fantastical and realist revenge.Vaage's work builds on the scholarship of Carol Clover, Alexandra Heller-Nicholas (Ms. 45 and Rape-Revenge Films), Claire Henry, Jacinda Read, Sarah Projansky, and Barbara Creed (Monstrous-Feminine and Return of the Monstrous-Feminine), who have deepened the understanding of the genre's political implications and its portrayals of gender and sexuality. Her exploration of women's anger aligns with Creed's concept of rape-revolt cinema from the Feminist New Wave, which critiques rape culture through rape-revenge narratives. Echoing Read and Henry, Vaage views these films as essential for examining rape and its cultural implications. What distinguishes her work is its focus on the affective responses elicited by these films. Vaage argues that these emotional responses are central to understanding the genre's impact and ongoing controversy, offering valuable insights into how they address broader questions about rape and societal reactions.The Female Avenger also should be considered in the context of Vaage's broader work. Vaage has written extensively on the application of cognitivist theory to film, with a particular focus on how audiences engage emotionally and morally with narratives. Her previous work includes studies on empathy, morality, and the representation of violence in film and television. Her analysis of The Girl with the Dragon Tattoo is part of an ongoing exploration of how rape and revenge are depicted in popular culture and how these depictions influence audience responses. In this sense, The Female Avenger can be seen as a continuation of Vaage's long-standing interest in the ethical and emotional dimensions of film. Her original application of cognitivist theory to the rape-revenge genre is a logical extension of her previous research, demonstrating her commitment to exploring the complexities of how audiences interact with media.Aimed primarily at scholars and students in film, media, and gender studies, this book also offers substantial value to a broader audience with an interest in feminist film theory and the portrayal of women in popular culture. Vaage's accessible writing and rigorous analysis make it a crucial resource for those examining rape-revenge films. Additionally, its engagement with controversial topics, such as the graphic depiction of rape, ensures it will provoke meaningful discussions and prompt readers to reflect on their own responses to these narratives.In conclusion, Vaage's book represents a significant contribution to the study of rape-revenge films. Despite a narrower focus on films, its reflections on the emotional and psychological impacts of these narratives are substantial. Vaage challenges readers to reconsider rape-revenge films and reflect on their broader implications. She writes, “The portrayal of revenge in rape-revenge film should therefore not be dismissed as in opposition to justice but should rather be acknowledged as an affective exploration of what feels just” (183). This encapsulates the book's thesis and highlights the role of emotion in challenging cultural norms and fostering meaningful change.