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A recently released Myanmar horror film is crassly misogynist in its portrayal of sexual violence, but is part of a much broader trend in an industry dominated by male filmmakers. What if Mya Mya, the lead character in the Myanmar horror film of the same name, released on February 6, were to enact revenge on the men who gang-raped her, not by menacing them as a forlorn ghost, but by seeking justice as a tenacious survivor? For the moment, such a plot turn appears to be beyond the imagination of Myanmar filmmakers, who are virtually all male and prefer to portray women rape victims as either killed in the act or driven inexorably to suicide by the shame. Their death, after all, provides a handy motive for male lead characters to avenge them in thrilling feats of heroism.
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Navigating a changing world: media’s gendered prism

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Rape, revenge and reactionary tales | International Media Support

An year-old Austrian actress, Hedy Lamarr, burst onto the big screen in the Czech film Ecstasy in Two scenes in particular caused a sensation. In the first, Lamarr swims naked in a lake. In the second, she has sex with a man, in what is believed to be the first depiction of intercourse in a non-pornographic film. Underground experimental films, never meant for mainstream theatrical exhibition, could be more explicit.
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We are observing strict physical distancing and hygiene measures to protect the health of visitors and staff and minimise the spread of COVID coronavirus. Read the latest visit information, including hours. Art historians and critics have ventured to make a distinction between the nude and the naked. In his book The nude: a study in ideal form , Kenneth Clark suggests that the naked human body is often self-conscious and may even be an embarrassment to the onlooker — shy, exposed and unprotected. The vague image it projects into the mind is not of a huddled and defenceless body, but of a balanced, prosperous and confident body.
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