Kids gone wild: from rainbow parties to sexting, understanding the hype over teen sex
sexually rapacious, and brutal presence carrying out vicious, inhuman experiments of the female prisoners of the camp. Yet, this powerful, in control 'superwoman' can hardly be seen as a 'leader of the feminists' (p. 101) in what is ultimately a reactionary and antifeminist narrative. In fact by the end of the film, the fate of Ilsa's troubling presence has been neutralised. First, she is brought under patriarchal control via the sexual desires of an American prisoner and then she is shot and killed by the SS, who end the film by anxiously disposing of the evidence and burning the camp to the ground. Similarly, Chapter 5, 'Economics, empathy, and expectation: history and representation of rape and prostitution in late 1980s Vietnam War films' Chapter 7, 'Delicate reports: prostitution in Sergio Martino's Mondo Film Wages of sin' Chapter 8, 'Cha ching! Getting paid in Breakfast at Tiffany's and Showtime's Gigolos' and Chapter 9, 'Machines, mirrors, martyrs, and money: prostitutes and promiscuity in Steve McQueen's Shame and Stanley Kubrick's Eyes wide shut' all engage expertly with the gendered bias in representations of sex on screen and how the figure of the prostitute engenders male anxiety over female passion, sexuality and autonomy. Thus, one of the most instructive aspects of the book is how and in what ways representations of female sexuality and sex are tied up in male subjectivity and power dynamics connected to socio historical contingencies. The corrective the book postulates to this 'misrepresentation' of what constitutes prostitution in our films and TV is a valuable adjunct and addition to debates on screen, gender and feminist discourse.