In a media landscape where sexual violence is largely normalised, the hit new show Off Campus is a refreshing pivot.
Created for Amazon Prime by showrunners Louisa Levy and Gina Fattore, the series explores the devastating impacts of sexual violence on young women. But it does so with sensitivity, and without gratuitous depictions of said violence.
Normalising sexual assault onscreen
Off Campus, a romantic college drama based on author Elle Kennedy’s novel series of the same name, is enjoying plenty of popularity right now. This is mainly due to its ridiculously attractive leading men and women, coupled with steamy (consensual) sex scenes and cheesy romance.
Season one follows college junior Hannah Wells and her fake dating scheme-turned-romance with star hockey-player Garrett Graham.
In a main subplot, we learn Hannah was drugged and raped by a classmate, Aaron Delaney, at a party. She was 15 when it happened.
But Hannah’s experience of assault chronologically takes place before the first episode. The incident is only hinted at subtly, through flashbacks.
Instead, the focus is on her life in the aftermath of sexual assault. This is the kind of representation post-#MeToo activists have been advocating for. Here, the reality of violence against women is addressed, but not viscerally depicted.
Contemporary series and films have a plethora of narrative plots predicated on graphic depictions of violence against women. Yet little has been done to address this.
As gender studies experts Stephanie Patrick and Mythili Rajiva explain, onscreen rape depictions continue to “rehearse gendered scripts, positioning women as sexual objects onscreen for the pleasure of audiences and/or male protagonists”.
These portrayals are now a pervasive part of screen culture, spanning genres and audiences.
Game of Thrones (2011-19), for instance, had multiple violent depictions of rape of prominent female characters, including Daenerys Targaryen, Cersei Lannister and Sansa Stark.
Similarly, Teen drama 13 Reasons Why (2017-20) also depicted both the rape of the central character Hannah Baker and the gang rape of minor character Tyler Down.
Both shows, though wildly different, demonstrate a heinous interest in showing the violation of bodies for entertainment.
What do we audiences get out of watching this, other than gnawing discomfort? And why do such shows remain highly watched, despite the controversy they attract?
Do we need to see sexual violence?
One might argue depictions of sexual assault and violence may make viewers more invested in the issue, and therefore more empathetic towards the experience of survivors.
Feminist film scholar Debra Ferreday says “like fans, feminists are intimately invested in practices of remediation and in the creation of transformative works” – and are therefore more likely to respond to these depictions with an activist mindset.
But, it’s not that simple.
There is also the potential to re-traumatise viewers who have experienced sexual assault, something showrunners are starting to take into account. And this has partly driven the rise of intimacy coordination in the industry. In the words of screen and media scholar Inge Sørensen:
the ways in which nudity, sex and intimacy are […] directed and acted on and off set are no longer only an ethical issue for […] cast and crew members on discrete productions. It is an industry concern with potentially significant financial and reputational consequences for any production.
There is also the potential for graphic depictions of sexual assault to desensitise viewers and normalise predatory and/or violent behaviour, particularly with reference to young men.
We can sen the effects of this in regards to shows such as Game of Thrones, wherein a number of online users argued the fantasy setting provided justification for the violent rape scenes. They saw no issue with them.
The Off Campus approach
Enter Off Campus. Alongside the main plot of Hannah and Garret’s budding attraction, we get glimpses into Hannah’s post-traumatic stress.
She confides in Garrett about her inability to orgasm, is hesitant to drink at parties, and feels guilty the only result of her legal trial against her abuser was the alienation of her family in their hometown in Indiana.
These moments come to a crux in episode seven, when Aaron plays against Garrett in a hockey game, and Hannah is too traumatised to attend. She isolates herself, struggles with overwhelming anxiety and avoids Garrett’s calls.
This scene mirrors the experience of many victim/survivors, who fear they will not be believed, or their assault won’t be taken seriously. Hannah’s beliefs reflect pervasive rape myths and stereotypes that shroud victim/survivors in doubt and shame.
Off Campus successfully touches on these problematic ideologies, before challenging a legacy of storylines that have helped endorse rape myths and minimise the effects of sexual violence.
Hannah eventually reaches out to her family and friends, who rally around her. Her mum, for instance, tells her she has “nothing to be sorry for”.
Almost a decade on from #MeToo
The series’ overall sensitive approach suggests at least some showrunners are becoming less interested in violent depictions of sexual assault onscreen.
As we near the ten-year anniversary of the #MeToo movement, violence against women remains high, with an estimated one in five women having experienced sexual violence since the age of 15.
Off Campus marks a pivot away from harmful representation on a macro level, while initiating important conversations around the impact of sexual violence on an individual level. This visibility can steer victim/survivors towards seeking support, and encourage greater empathy and awareness among the broader audience.
The National Sexual Assault, Family and Domestic Violence Counselling Line – 1800 RESPECT (1800 737 732) – is available 24 hours a day, seven days a week for any Australian who has experienced, or is at risk of, family and domestic violence and/or sexual assault.
This article was originally published on The Conversation. Read the original article.
