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The Representations of Rape in American Horror Story

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The Representations of Rape in American Horror Story THE HORROR OF SEXUAL VIOLENCE: THE REPRESENTATIONS OF RAPE IN AMERICAN HORROR STORY by Trevor Myrick A Senior Honors Thesis Submitted to the Faculty of The University of Utah In Partial Fulfillment of the Requirements for the Honors Degree in Bachelor of Arts In College of Fine Arts Department of Art & Art History Approved: ____________________ ____________________ Dr. Lela Graybill Brian Snapp Faculty Supervisor Chair, Dept. Art & Art History ____________________ ____________________ Dr. Paul Monty Paret Dr. Sylvia D. Torti Department Honors Advisor Dean, Honors College May 2014 ii ABSTRACT This thesis looks at the representation of rape in American Horror Story, considering its formal and narrative construction alongside critical responses, drawing attention to both innovative and stereotypical aspects of its function within the series. While the series generally revels in representing explicitly violent and abject topics through fantasy and the employment of various horror elements, it also incorporates representations of rape with remarkable frequency. In its first three seasons, the series integrated rape narratives a whopping eleven times within 38 episodes, with each new episode of American Horror Story thus having a nearly 29% chance of representing rape or sexual assault in some way. The pervasiveness of rape in American Horror Story is undeniable, yet little to no critical discourse examines its continual use and subsequent impact on conversations surrounding rape culture. While other popular and current television series’ singular inclusions of rape narratives—such as Downton Abbey, Scandal, Mad Men, etc.—have been widely discussed by critics and fans alike, the representation of rape in American Horror Story remains largely unnoted. Through an analysis of the formal qualities of the exemplary rape scene of Madison Montgomery (Emma Roberts) in the first episode of season 3, “Bitchcraft,” this thesis demonstrates how scenes of sexual violence against women in American Horror Story are visually implicit while remaining impactful and unsettling, situating critical responses of this scene and American Horror Story in general within broad postfeminist discourses surrounding representations of rape. iii TABLE OF CONTENTS ABSTRACT ii INTRODUCTION 1 THE FORMS OF VIOLENCE IN AMERICAN HORROR STORY 3 IMPLIED VIOLENCE IN “BITCHCRAFT” 8 EXPLICIT ASPECTS OF “BITCHCRAFT” 14 THE CRITICAL RESPONSE 18 CONCLUSION 28 NOTES 30 TELEOGRAPHY 35 1 INTRODUCTION Capitalizing on a void of the horror genre in the television market, Ryan Murphy and Brad Falchuk created American Horror Story in 2011, a show that is thriving and helping to sustain what some are calling the “Golden Age of Horror” on television.1 When thinking about American Horror Story, several aspects of the show may come to mind: its critical and popular success, it being an anthology of various horror topics, the continually award-winning cast, etc., but one of the most important and highly apparent aspects of the show is its frequent use of visually explicit violence to aid its narrative, a common characteristic of the horror genre.2 Because American Horror Story airs on a cable network (FX), the creators have been able to incorporate scenes of shootings, dismemberments, stabbings, surgical experimentation on innocent and unwilling people, suicide, countless murders, and various supernatural and horror elements that are all considerably more visually explicit than those featured on shows that air on local networks. These jarring and largely uncensored elements demonstrate how American Horror Story revels in pushing the boundaries of violent representations. Given its employment of such violent and uneasy topics, it should come as no surprise that American Horror Story has also incorporated narratives of rape and sexual violence multiple times throughout its televised run on cable. Critical discourse surrounding the use of rape as a narrative tool on television series frequently argues that rape is a lazy plot tool and simply utilized to make characters more complex or sympathetic.3 Search “rape on television” through Google, and several thousand articles discussing, debating, and reporting on the prevalence of rape on television are instantly 2 available. Some have argued against its use entirely, pressuring writers to hone in on their creativity to come up with better, more intricate ways to provide their characters with added complexity and overall depth.4 These writers find its continued use resulting in a trend of less than dynamic or unique characters. However, many others are not as quick to condemn the representation of rape on television, citing the importance of shedding light on the real and pervasive issues with which our society is faced.5 These critics do not condone the representation of rape, rather, they simply recognize its potential to inform audiences—hopefully inspiring continued discussions and greater understanding of rape in our culture—while warning against the possibility of alienating viewers through insensitive portrayals.6 This thesis looks at the representation of rape in American Horror Story, considering its formal and narrative construction alongside critical responses, drawing attention to both innovative and stereotypical aspects of its function within the series. First, I will situate the representation of rape in American Horror Story alongside other forms of violence, demonstrating the ways in which it both conforms to and diverges from the series exploration of extreme themes through the genre of horror. Next, I will analyze an exemplary case of sexual violence against women in the series—the rape of Madison Montgomery in the first episode of season 3, “Bitchcraft”—arguing that violence in this scene functions as visually implicit while remaining impactful and unsettling. Finally, I will situate critical responses to American Horror Story in general and “Bitchcraft” in particular within broad postfeminist discourses surrounding the representation of rape. 3 THE FORMS OF VIOLENCE IN AMERICAN HORROR STORY Before co-creating American Horror Story, Ryan Murphy was no stranger to serialized television, having spawned several previous successful series: Popular (1999-2001), Nip/Tuck (2003-2010), and Glee (2009- ). While each of these series explored highly controversial topics—such as the inclusion of positive, gay teenage characters on Glee and overt and deviant sexuality on Nip/Tuck—Murphy wanted to take these subjects one step further and explore them in the arena of the horror genre. Speaking about his inspiration for American Horror Story, Murphy said in an interview with Julia Roberts, “American Horror Story came about because I was like, ‘I can’t write any more nice speeches for these Glee kids about love and tolerance and togetherness. I’ll kill myself.’ So then I was like, ‘I’m going to write a show about anal sex and mass murders.’”7 And that is exactly what Murphy and Falchuk did. In the subsequently named first season, American Horror Story: Murder House, Murphy and his creative team succeeded in incorporating deviant topics and various elements of horror: BDSM, same-sex relationships, anal sex, adultery, abortion, murder, self-mutilation, suicide, ghosts, monsters, sexual assault, and rape, to name a few. The success of the pilot episode of American Horror Story came as a shock to some, due to an initial marketing campaign heavily saturated with BDSM imagery. This kind of sexual exploration and deviance, coupled with its apparent pull at horrific and violent storytelling, could have proven to be a flop when trying to connect with an American audience and culture that is typically void of such topics on television. 4 Interestingly, though, it may be exactly because of the violence, sexual deviance, and it premiering during the “Golden Age of Horror” on television that American Horror Story was able to reach such an expansive audience for a cable series.8 American Horror Story’s first season follows the Harmon family, Vivien (Connie Britton), Ben (Dylan McDermott), and Violet (Taissa Farmiga), as they try and navigate the sexual horror that exists within their new home. The season progresses through the circuitous route of a non-linear plot, with each episode incorporating flashbacks and time jumps. While the intricate plotting surely aided in the show’s success, it was the show’s fascination with violence and deviant topics that made it stand apart, securing its place in the horror genre. The Harmons face home invasions, stalkers, unwanted guests, ghosts, demons, and other various horrific hurdles that scare, disgust, and shock audiences, in what has become an expectation of the horror genre. As a cable television series, American Horror Story is allowed to depict violence with more freedom than network television, a liberty that the show has taken great advantage of. During the first season alone, the series portrays the throats of children being ripped out (1.01 “Pilot”), a gunshot to the eye (1.03 “Murder House”), a school shooting, resulting in the death of 15 students—ten of which happen off-screen (1.06 “Piggy Piggy”), the stabbing and dismemberment of an ex-lover (1.09 “Spooky Little Girl”), the immolation of a man (1.10 “Smoldering Children”), and that is only the tip of what can only be described as the violent iceberg. The violence portrayed in season two, American Horror Story: Asylum, and season three, American Horror Story: Coven, is similar, if not more radical, than that of the first season. These seasons saw limits pushed even further with limbs being torn from 5 a person’s body (2.01 “Welcome to Briarcliff”), an exorcism (2.02 “Tricks and Treats”), the mercy killing of a tortured victim (2.06 “Origins of Monstrosity”), a man pushing his wrists down on a meat slicer (2.07 “Dark Cousin”), a crucifixion of a Monsignor (2.09 “The Coat Hanger”), death during sex, by way of an aneurism (3.01 “Bitchcraft”), throat slicing (3.02 “Boy Parts”), burning at the stake (3.01 “Bitchcraft,” 3.04 “Burn, Witch. Burn!,” and 3.13 “The Seven Wonders”), a massacre of several men by axe (3.11 “Protect the Coven”), and a variety of other particularly violent scenes.
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