Men, Women, & Chain Saws – Gender in the Modern Horror Film: Gender in Modern Horror Film

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Carol Clover's compelling [book] challenges simplistic assumptions about the relationship between gender and culture. . . . She suggests that the "low tradition' in horror movies possesses positive subversive potential, a space to explore gender ambiguity and transgress traditional boundaries of masculinity and femininity. ---Andrea Walsh, The Boston Globe Even though this was written in the 80s and published in 1992, leaving a huge gap between then and the current display of horror films, it is still an important work that for the most part refutes the viewer identification with sadism thesis. The "Final Girl" is in our lexicon because of Clover and she makes a powerful argument that the popularity of horror films, even among its mostly male viewers, is rooted in identification with the victim and from a perspective of masochism. Although horror films are broadly discussed, three main threads are examined in detail: slasher films, satanic possession films, and rape-revenge films. Fascinating, Clover has shown how the allegedly naïve makers of crude films have done something more schooled directors have difficulty doing - creating females with whom male veiwers are quite prepared to identify with on the most profound levels

Men, Women and Chainsaws: Gender in the Carol J. Clover, Men, Women and Chainsaws: Gender in the

Clover makes a convincing case for studying the pulp-pop excesses of ‘exploitation' horror as a reflection of our psychic times. ---Misha Berson, San Francisco Chronicle SGJ is always fun to read, and his short stories are awesome little slices of gritty East Texas life, with lots of dusty flat spaces and flea bitten dogs under dilapidated trailers. "Men, Women, and Chainsaws" follows Jenna, who has been abandoned by both her adopted parents and her man-ho fiancé.The story is constructed with a lot of homages and references to classic horror, most notably the film Texas Chainsaw Massacre 2 and the actress Caroline Williams, with a photo of her atop an old rusted Camaro figuring prominently into the story. Something I truly enjoyed was the way you can feel Jones’ excitement about all the references built into the story, which in turn makes you excited about them (even though I really know nothing about cars and have never seen the film, but it’s like how you get excited about things your friend likes because you are just happy to see them happy). Jones builds the story through Jenna’s narration, often having you witness events without much context for the motivations. Yet. That context comes, and the slow reveals create a really palpable tension. Regardless of Sex: Men, Women, and Power in Early Northern Europe." Speculum: Journal of the Medieval Academy of Amnerica, 68 (1993). Rpt. in Studying Medieval Women: Sex, Gender, Feminism. Medieval Academy of America, 1993. Rpt. in Representations, 44 (1993). I like the writing of academic books and I love analysis of horror. There is though, an obsession with identification here (and often in these books), specifically gender identification. For what it's worth, I enjoyed this book for the most part. It certainly gave me a lot to think about and analyze, and while it did take me quite some time to read, I attribute that more to my own desire to take my time digesting the topics in this book. There was a lot to take in and think about, especially when accounting for the fact that this book is dated and it prompts a lot of questions about the understanding of gender, coming from a decades-older viewpoint.

Men, Women, and Chain Saws: Gender in the Modern - JSTOR

Clover, C.J.: Men, Women, and Chain Saws: Gender in Modern Horror Film". Princeton University Press. Archived from the original on April 11, 2015 . Retrieved January 22, 2011. Clover makes a convincing case for studying the pulp-pop excesses of ‘exploitation' horror as a reflection of our psychic times." —-Misha Berson, San Francisco ChronicleTotaro, Donato (January 2002). "The Final Girl: A Few Thoughts on Feminism and Horror". Offscreen. 6 (1). ISSN 1712-9559 . Retrieved January 22, 2011. Again, her reading of the terrible place, this time, the destruction of the terrible place, is probably really helpful to ecogothic and ecohorror readings. What happens when gothic nature is gendered? Can we read gothic nature through the monstrous feminine?