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Representations of Men's Violence Against Women

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Representations of Men's Violence Against Women REPRESENTATIONS OF MEN'S VIOLENCE AGAINST WOMEN: AUDIO-VISUAL TEXTS AND THEIR RECEPTION BY C. KAY WEAVER A THESIS SUBMITTED FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF FILM AND MEDIA STUDIES UNIVERSITY OF STIRLING SCOTLAND ABSTRACT Portrayals of sexual and/or domestic violence committed by men against women appear in the television schedules and in movie theatres on almost a daily basis. There is a long established tradition of concern about how depictions of violence in the audio­ visual media can impact on audiences. However, minimal consideration has been given to what kind of discursive 'messages' such portrayals might contain and how audiences engage with these. This research explores to what extent audio-visual portrayals of violence against women might offer certain ways of reading and understanding that violence, and how women audiences interpret these. It investigates this through both textual and reception analyses, with the framework through which reception is examined being directly related to the textual material itself. The study assesses to what degree audio-visual texts are capable of structuring audience interpretation, and whether there is any direct relationship between this and how women viewers actually read the texts. Four audio-visual products are examined: the Hollywood film The Accused; an episode of the soap opera EastEnders; the television play Closing Ranks; and an edition of Crimewatch UK. Ninety one women, formed into 14 focus groups, participated in the reception research. Half of these women had experienced violence of a domestic and/or sexual nature, whilst the other half had no experience of such violence. Groups further varied in terms of nationality (Scottish and English), class (working-class and middle-class) and ethnic background (white, Asian and Afro-Caribbean). The research demonstrates that neither audio-visual texts nor their reception can be considered outwith an appreciation of how social and cultural factors influence both. The media are involved in the circulation of cultural meanings about acts of violence against women and in mediating this cannot help but draw on existing discourses which surround such violence. As audiences, women also draw on their socialised conceptions of such violence, though how they engage with and read its representation is affected by their social and cultural positionings and their own lived experiences. ACKNOWLEDGEMENTS This research was supervised by Professor Philip Schlesinger and Dr Mike Cormack. It was funded by a Scottish Office Education Department Major Scottish Studentship. Philip Schlesinger and Mike Cormack's enduring patience, support and critical advice have been invaluable in the completion of this work. To them I extend my gratitude and appreciation. I was also fortunate to have the encouragement of Dr Rebecca Dobash and Dr Russell Dobash in the early stages of this thesis. Additional thanks go to Dr G. Jane Williams, an inspiration and kindred spirit, for reading and debating my writings. My family and friends provided a much needed safety net during the years of this endeavour. Liz Lake saved me from the depths of despair on many occasions and Ross Hutton has been extraordinarily robust in his companionship and camaraderie. This work would never have been possible had it not been for 91 women who gave their time and energy to take part in the viewing sessions drawn on in this research. The debt owed to them is greater then can ever be repaid. CONTENTS Abstract Acknowledgements 1. Introduction 1 2. Theoretical Perspectives on Audio-Visual Representations of Violence and Approaches to Textual Analysis and Reception Studies 6 3. Methodologies Used in Researching the Mediation and Reception of Portrayals of Violence Against Women 51 4. The Accused: Gang Rape in a Hollywood Film 94 5. EastEnders: Domestic Violence in a Soap Opera 144 6. Closing Ranks: Domestic Violence in a Television Play 194 7. Crimewatch UK: a Reconstruction Concerning the Sexual Assault and Murder of a Woman 241 8. Conclusion 290 Bibliography 298 1 CHAPTER ONE INTRODUCTION The Research Perspective The debates surrounding audio-visual representations of violence can generally be characterised through two arguments. On the one hand there is the belief that violent portrayals on television and in film have the potential to incite aggressive and violent behaviour in viewers. From this perspective concern is also expressed that so frequently are depictions of violence found in film and television that audiences are desensitised to the suffering and effects of real-life violence. On the other hand there are those who reject outright any claims that audio-visual representations of violence might have damaging or negative social consequences, be it in terms of inciting aggressive behaviour, or in terms of distorting how we generally think about violence as a social phenomenon. Both of these positions are informed more by dogmatism than sound empirical research. This study argues for the need to examine audio-visual representations of violence both in relation to the social and cultural contexts in which they are produced, and in relation to how audiences read and interpret these portrayals. This entails exploring questions of why and how depictions of violence appear on our television screens and in movie theatres, and what 'meanings' are taken from these by viewers. However, in considering such questions it is necessary to assess how violence is shown in a variety of audio-visual forms, including both factual and fictional texts. Research which limits itself to the analysis of anyone type of audio-visual genre is constrained in its ability to discuss the range of discourses which might play a part in both how violence is portrayed, and how it is received by audiences. 2 Four audio-visual texts are analysed in this research: The Accused, EastEnders, Closing Ranks and Crimewatch UK. Each of these represents a different audio-visual form and all depict acts of sexual and/or domestic violence committed by men against women: The Accused features an explicit gang rape of a woman in a public bar; EastEnders depicts domestic violence committed by a white man against his Afro-Caribbean wife; Closing Ranks also portrays domestic violence, but in excess of that shown in EastEnders in additionally including a marital rape; and Crimewatch UK contains a reconstruction of the events surrounding the sexual assault and murder of a young female hitchhiker. The concern is to examme how these four texts might each promote certain understandings of violence against women, and which discourses they draw on - either intentionally or unintentionally - in mediating this violence. This is researched through a combination of both textual and reception analyses, with the latter drawing on focus group interviews to assess how different women read and interpret the violent representations. This concentration on women facilitates the analysis of how the audio­ visual texts might encourage such viewers to adopt certain discursive understandings of how and why their gender is vulnerable to male attack, and what can be done to prevent this. Included in the reception study were both women with experience of sexual and/or domestic violence and women with no such experience. Groups were further differentiated according to class (working-class and middle-class), ethnicity (white, Asian and Afro-Caribbean) and nationality (Scottish and English). Textual analysis and reception studies are rarely combined. This is due to some broadly conflicting theoretical arguments concerning whether 'meaning' is immanent in texts, as in the former approach, or whether it is produced only at the point of audience reception, as in the latter perspective. Textual analysis is important in the production of audio­ visual criticism. However, unless supported by empirical audience research, its 3 arguments are are open to accusations of speculation and/or subjectivism. Reception research, has, at times, been weak in providing critical analyses of the audio-visual media, and particularly so in relation to popular fiction television programming (Brunsdon, 1989; Gray, 1987). It is also an approach rarely applied to the study of cinema texts (Stacey, 1993). For reception research to make a useful contribution to textual criticism, and promote an understanding of how audio-visual media texts may influence how audiences make sense of their wider social and cultural environments, it needs to be recognised that textual signification plays an important part in structuring the range of ways in which a text can be read and comprehended. Therefore, the aim of this research has been to identify how each of the featured texts might prompt certain readings of violence committed against women. This is approached through a multi-focused textual analysis assessing how production and marketing contexts, generic conventions, narrative structure, plot construction and characterisation affect the interpretive potential of the text. The investigation then turns to examine what evidence, if any, there is to indicate how these factors might have affected the women interviewees' reception of the texts and their representations of violence against women. A Note on the Background to this Research This thesis draws on audience reception data originally used in the research project Women Viewing Violence (Schlesinger et aI, 1992). It therefore also focuses on the same four audio-visual texts as that publication. In doing so it represents both a continuation
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