The Hunting Ground is an incredibly powerful film. Its main strength is the testimony of the brave survivors who tell their stories on camera – tales of harrowing victimisation, and narratives of resilience and strength as they take on the machinery of their universities and help each other through trauma and recovery. I am full of admiration for these survivors – their voices break the silence around campus sexual assault, and in the process become part of a long feminist tradition of sharing experience to create political change. They are both male and female, although it is a shame the film does not refer to (and does not appear to include) people of other genders, since recent research suggests that genderqueer and non-conforming students, along with trans students, may be particularly at risk.
The personal stories of The Hunting Ground are raw and honest: however, they are positioned within a rather dubious argument and agenda, which begins with the film’s title. Together with the soundtrack provided by the Lady Gaga track ‘Till it Happens to You’, it transmits a clear message: that male students are predators and female ones prey, in campuses more like wildernesses or war zones in which sexual assault is inevitable. As educator and a feminist who both teaches and has been taught that discourse reflects and constructs reality, I am not sure whether I want to ensnare young people within this kind of narrative. I also question its function and intent in a film which seems to have been produced to generate profit, judging by the costs charged to university staff and student groups who wish to show the DVD.
The film represents its ‘hunters’ as a small band of men with stealth weapons, who deliberately and systematically pick women off. This is based on the often-made argument that campus rape is a calculated, premeditated crime (usually violent) committed by serial sex offenders. This claim comes from the research of David Lisak, who argues that campus offenders are violent sociopaths who ‘groom’ their targets and coerce and terrify them into submission. Lisak’s assertions punctuate the film: we are told that 90 percent of campus assaults are committed by serial rapists, and that these men average six rapes each. However, Lisak’s research, and its subsequent usage, has been challenged: his initial paper was based on four different student dissertations, none on campus sexual assault specifically. It also did not distinguish between assaults committed on different victims and multiple assaults on the same person.
In contrast to this picture of the violent serial rapist, evidence from the UK suggests that many acts of sexual violence at university stem from a variety of more spontaneous boundary-crossings shaped by particular cultures of masculinity. This is not to underplay the seriousness of these assaults: indeed, their ‘everydayness’ is perhaps greater grounds for concern than the idea that there are a handful of men perpetrating multiple attacks who can easily be removed from student communities to keep everyone safe. The 2010 NUS report Hidden Marks found that a whopping 68 per cent of women students in UK universities had been sexually harassed. Furthermore, the survivors who testify in the Hunting Ground to a huge number of students with similar experiences appear to confirm that the scale of the problem in the US may not be restricted to a handful of violent men either.
A key insight of feminist theorisations of rape is that it is not perpetrated by men who deviate from social norms, but by those who exemplify them. Initiated by the black feminists of the US Civil Rights movements and subsequently articulated by the radical feminists of the second wave, there has also been a powerful argument that sexual violence is not just an individual crime but a practice which reflects and reproduces structural inequality through racialised and/or gendered terror. Ida B. Wells situated rape as a means of upholding white patriarchal power, while allegations of rape were deployed to justify lynching black men as a form of social control. More than 50 years after Wells’ death, Kelly’s continuum of gendered/sexual violence defined a collection of behaviours, from sexual harassment to sexualised murder, with the same social and political function: preserving male power by making women feel unsafe. These structural analyses work at the roots of intersectional power relations: a far cry from the idea that you can just punish some ‘naughty boys’ and make the problem of sexual violence go away.
The retribution-restitution narrative of The Hunting Ground calls on universities to mobilise disciplinary apparatuses, with the ultimate aim being the expulsion of offenders. This works alongside the idea that the most appropriate channel for victims to achieve justice through is the criminal law. This narrative has serious implications, given the sheer scale and ‘normalcy’ of sexual harassment and violence at universities: it also detracts attention from the cultures of masculinity and myriad forms of bullying and abuse which are shaped by the rationalities and practices of the neoliberal institution. What if we punish those ‘naughty boys’, and others emerge to take their place? What if we deal with an issue ‘over here’, and find that it is also endemic ‘over there’? There are also important intersectional questions about appealing to carceral systems, either within or outside institutions, which may be riddled with racism, classism and other oppressive discourses. Who is more likely to be problematised and targeted by these systems, and why?
The most valuable element of the film is its clear message about believing and supporting sexual violence survivors. Indeed, its footage of survivors caring for each other is equally inspirational and heartbreaking, because of the exacting emotional labour involved in filling the chasms – these are not just cracks – in institutional provision. As a survivor myself I understand that the idea of punitive sanctions is gratifying amidst deep anger and pain: however, this may be an unsatisfactory or incomplete response in institutions which are supposed to have a pedagogical mission. Furthermore, carceral approaches detract from addressing institutionalised sexism and other hegemonies in higher education (including those of the neoliberal university itself) which shape and produce bullying and violence. The neoliberal framework is also what creates financial disincentives for universities to uncover and address sexual assault, positioning it as a PR issue rather than one of student wellbeing and social justice. The Hunting Ground might short-circuit this by shaming institutions into action, but punishing ‘naughty boys’ will not help us to create campus communities where people are actually concerned with being good.