By Keith Beattie
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Frequently thought of the bottom intensity to which the cinema can plummet, the rape-revenge movie has been brushed aside as exploitative and sensational, catering to a demented demographic. in simple terms on such infrequent events as Ingmar Bergman’s The Virgin Spring, John Boorman’s Deliverance and Quentin Tarantino’s demise evidence has the rape-revenge motion picture transcended what's usually assumed to be its intrinsically exploitative nature and moved into the mainstream.
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