By Kate Harding
Each seven mins, somebody in the USA commits a rape. And no matter if that's a soccer big name, cherished star, elected reputable, member of the clergy, or simply a regular Joe (or Joanna), there's most likely a neighborhood wanting to make excuses for that person.
In requesting It, Kate Harding combines in-depth learn with an in-your-face voice to make the case that twenty-first-century the United States helps rapists extra successfully than it helps sufferers. Drawing on real-world examples of what feminists name "rape culture"—from politicos' revealing gaffes to institutional disasters in larger schooling and the military—Harding bargains principles and recommendations for a way we, as a society, can take sexual violence even more heavily with out compromising the rights of the accused.
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Additional resources for Asking for It: The Alarming Rise of Rape Culture--and What We Can Do about It
Lola a is the stage name of Cécile, a smalltime cabaret singer and dancer played with sweet resignation by Anouk Aimée, whose story of unrecoverable first love is interwoven with those of a young girl (an incipient Lola) and her mother (a past Lola). Her Lola is important—entirely unlike Dietrich, but a Lola nonetheless. We will refer to her and Demy’s film repeatedly in subsequent chapters. Demy is known for carrying the stories of his characters over into new film projects. At the end of Lola, she and her son are reunited with her childhood lover, Michel, and drive off in his Cadillac.
Hong Li takes an opposite approach to the name. The English title of her film, Curse of Lola a (2005), spells out the question that is more discreetly posed in the Chinese: is there a curse attached to the name Lola? Young female dancers compete for the coveted role of Lola in an upcoming performance. As part of the experiment, Hong Li assigns these actress/dancers their own names—they play themselves. The first Lola is mysteriously killed in her dressing room, where only minutes before the younger Tian had sat in her chair, applied her lipstick, and donned her wig.
In the original film poster, Jannings’s name in large white letters takes pride of place in the top left quadrant above his head, even if the face of Dietrich, whose name is relegated to a less discernible blue in a type about a quarter of the size, seems to loom forward and vie for attention. For Dietrich it was the breakthrough she had been waiting for, not only in that she took a leading role opposite a major star, but because it opened a path to Hollywood. Both Dietrich and Sternberg would take their new prestige with them to the United States and embark on a long series of increasingly stylized collaborations based on the idea of the femme fatale, with which—and this is crucial to realize—Lola has nothing to do.