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Depictions of sexual violence are frequently found in the collections and displays of art museums, and material that represents and affirms violence against women often is displayed unchallenged. This article poses questions about how the presence of this material has been addressed in the relations between feminist activism against sexual violence, art made by artists responding to and participating in feminist activism, and the curatorial activities that have arisen to address the challenges that these activities present to art museums. The chapter investigates the 2021 exhibition Titian: Women, Myth and Power at the Isabella Stewart Gardner Museum and its handling of themes of rape in the central exhibit, Titian’s Rape of Europa; the history of themes of rape in feminist art since the 1970s and in exhibitions of this art that have taken place in museums in the last two decades; and curatorial engagements with sexual violence and rape in recent art exhibitions in the US and in the UK. The article argues that new strategies for the presentation and interpretation of artworks dealing with sexual violence are needed for museums to redress the patriarchal and colonial presence of sexual violence in their collection.

Quelle est la place des femmes dans l’industrie du spectacle du XIXe siècle au-delà des métiers de performance très exposés qu’exercent les actrices, ...

Ça fait plus de 5 ans que le mouvement #MeToo (#MoiAussi) a commencé. Depuis, de nombreuses victimes de crimes sexuels critiquent notre système de justice traditionnel. Mais il existe une autre solution, fondée sur des principes et des processus autochtones : la justice réparatrice. Comment fonctionne-t-elle exactement? Tom-Éliot Girard est …

Son risque de récidive est jugé faible en raison de son état physique et mental.

En octobre 2017 émergeait un mouvement de dénonciation planétaire.

Le milieu littéraire attend encore des changements structurels importants, cinq ans après le début du mouvement.

Alors que le chorégraphe Eddy Toussaint fait face à une deuxième accusation d’agression sexuelle, l’école et la troupe de ballet qu’il a fondées prennent leurs distances et changent de nom. Des spectacles ont aussi été retirés de l’affiche dans la foulée des accusations, mais la direction estime qu’il est injuste de pénaliser les danseurs.

L’écrivain réputé Samuel Archibald a profité de son statut de professeur de littérature pour avoir des relations sexuelles avec deux étudiantes sous son autorité, conclut une enquête indépendante commandée par l’Université du Québec à Montréal (UQAM). Une de ces femmes l’accuse même de l’avoir étranglée lors d’une relation sexuelle non consentie. Des actes « graves » et « hostiles » qui ont mené à son départ en catimini de l’UQAM l’an dernier.

Tout un matin | L'ex-professeur de littérature Samuel Archibald aurait commis des « violences à caractère sexuel » et du « harcèlement sexuel » envers deux étudiantes avec lesquelles il était en situation d'autorité en tant que directeur de maîtrise. Le lien d'emploi entre l'auteur et l'Université du Québec à Montréal (UQAM) aurait été rompu l'année dernière. Au micro de Tout un matin, Rachel Chagnon, professeure au Département des sciences juridiques de l'UQAM, définit ce qu'est une relation de pouvoir entre un enseignant et un étudiant (ce sont majoritairement des femmes), principe qui se trouve au cœur de la politique de l'université pour prévenir et combattre les violences à caractère sexuel.

Au coeur de la poursuite : une publication dénonçant l’humoriste Alexandre Douville sur la page Dis son nom.

Trois femmes font état d’interactions inappropriées, une autre dit avoir été agressée sexuellement en 2015.

In India, the 2012 Delhi gang rape case catalyzed protests for women’s rights, particularly in regard to their safety. These demands were rekindled with vigor anew with the eruption of the #MeToo movement. In the Indian film industry, the most visible change appeared in the gradual increase of films with womenleads. But behind the scenes, there has been comparatively less change in female representation. Currently, approximately less than 10% of film directors in India are women. Considering the impor­ tance of having stories about women being made by women, in this article I examine the factors that hinder women’s entrance and tenure in the Mumbai film industry. I argue that a composite of concerns, including but not limited to reputability and personal security, thwarts women’s progress in the industry. I base my con­ clusions on interviews with women and men working in the film industry, conducted in Mumbai in 2017. I use the framework of the Ambivalent Sexism Index developed by psychologists Glick and Fiske in 1996, and revised in 2013, (1996, 2001, 2013) to examine my interviewees’ encounters with hostile and benevolent sexism. This article complicates our understanding of the reasons that limit the work of women beyond explanations of overt discrimination.

This article examines the work of intimacy coordinators on television drama and film sets and the rise of this new role in the screen industry from a policy and production studies perspective. Since HBO made the employment of an intimacy coordinator mandatory on all productions with scenes of sex, nudity, and physical intimacy in 2018, intimacy coordination has become an industry standard and expectation. Through interviews and analysis of production practices, this article explores how intimacy coordinators change and challenge established production practices on and off set and interrogates the reasons behind the emergence of this role in the screen industry. It situates intimacy coordination in the context of recent industry policies and initiatives that promote equality and diversity, and counter harassment and abuse in the post-Weinstein era. It analyses this role on relation to changing production and distribution models and regimes in the era of VOD portals. The article argues that intimacy coordination is not only a catalyst for reforming practices on set, but a way for the screen industry to negotiate contemporary and historic concerns about sexual harassment and abuse, comply with recent policy and funding requirements, and a mechanism for mitigating economic and reputational risk to productions.

Creative Industries in Canada is a foundational text that encourages students to think critically about creative industries within a Canadian context and interrogate the current state and future possibilities of the industry. While much of current creative industries literature concerns the United Kingdom, the United States, and Asia, this text captures the breadth of how Canadian industries are organized and experienced, and how they operate.This ambitious collection aims to guide students through the current landscape of Canadian creative industries through three thematic sections. “Production” collects chapters focused on how national discourses and identities are produced through creative industries and the tensions that exist between policy and media. “Participation” explores how we engage with these industries in different roles: as consumer, creator, policy-maker, and more. “Pedagogies” explores how education impacts inclusion and visibility in creative industries.Truly intersectional, Creative Industries in Canada provides students with practical industry knowledge and frameworks to explore the current state of the field and its future. With a broad application to many undergraduate programs, this text is a must-read resource for those pursuing media studies, arts management, creative and cultural industries studies, communications, and arts and humanities.

Nouveau scandale de viol collectif à Hockey Canada. Allégations d’inconduites sexuelles contre l’humoriste Philippe Bond. Absolution conditionnelle pour l’ingénieur Simon Houle coupable d’agression sexuelle…

L'humoriste Philippe Bond était déjà depuis plusieurs années sur la liste noire de grandes organisations culturelles.

Lisez tous nos articles, analyses et opinions sur les allégations d’agressions et d'inconduites sexuelles visant Julien Lacroix. Le Devoir, le quotidien indépendant par excellence au Québec depuis 1910.