One thing we often do with narratives of sexual assault is sort their respective parties into different temporalities: it seems we are interested in perpetrators’ futures and victims’ pasts. As more and more stories of sexual assault have been made public in the last two years, the genre of their telling has exploded. Miriam Toews in costume as the character Esther during the filming of Silent Light, directed by Carlos Reygadas (left) and set in a Mennonite settlement in Chihuahua, Mexico, July 2006Ĭrimes have a tendency to become not just stories but genres, once we get too accustomed to them.
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