Men, Women, and Chain Saws: Gender in the Modern Horror Film (Princeton Classics): Gender in the Modern Horror Film - Updated Edition: 15 (Princeton Classics, 15)

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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. She] argues that most horror films are obsessed with feminism, playing out plots which climax with an image of (masculinized) female power and offering visual pleasures which are organized not around a mastering gaze, but around a more radical "victim-identified' look.

As for Caroline Williams, she was the reason for this daring junkyard break-in: last summer, the horror magazine Victor drove down to Houston to get once a month had run an interview with her, and the photo spread part of it had been shot right here in town.Its an interesting book about how genders are portrayed in horror films, slasher films and rape revenge films. 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. Her assertions are based on second wave feminism (she began writing in ‘86, so this is unsurprising) and Freudian analysis, which I argue is just as flawed in literary study as it is in psychology, without the potential real-life consequences of the latter. Clover suggests we see women characters frightened more, but I'm not sure I entirely agree with even that.

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Thesis: Horror’s target audience, adolescent males, are able to identify with a female character (at least for most of the film) because horror operates partly through a one-sex system in which gender is determined by behavior rather than anatomy. It was written in 1992, so some of the language is dated, but her textual examples are still on point; the 70s and 80s was the Renaissance of horror films. Again, her reading of the terrible place, this time, the destruction of the terrible place, is probably really helpful to ecogothic and ecohorror readings.

It was the perfect way to start my day today, and this intense and supernatural tale of revenge has all the hallmarks of what makes Stephen Graham Jones’ stories so irresistible. Men, Women, and Chainsaws makes for an excellent Halloween read featuring revenge, female rage, and tons of references, so I would definitely recommend it to fans of the horror genre. By the end of the film they are able to man themselves by taking on a phallic object and penetrating the killer with it, thereby unmanning him. Knowing it is horror, you kind of play along but there are a few moments where you can feel him winking at the reader like, oh have I fooled you, or is there more to come? While her arguments are contingent on complicated gender and class disparities (she does not touch on race, which is notable, but perhaps is her knowing she does not have the perspective to make a true argument as a white woman), and symbolism.There is a Christine-like car haunting going on here (this is a story where the less you know going in the better so I won’t spoil much) that makes you question if the haunting is real or only in Jenna’s head. Of course, it’s been quite a few years since Clover wrote this book and horror has undergone some interesting changes in the between time. I also generally disagree with the author's takeaways, but found her analysis to be interesting/worthy of consideration.

the “certain link” that puts killer and Final Girl on terms, at least briefly, is more than “sexual repression.

The lesson was not lost on the mainstream industry, which was soon turning out the formula in well-made thrillers. e.: Norman Bates) can fit into the normal world and ‘pass’ as a normal male, however most slasher killers are only marginally human (i. Unlike Stephen King's Christine, which any horror story featuring a car will ultimately be compared to, there is actually a sweet (though still twisted) side to the story too. However, I’m very curious if, in the modern age especially, her theory is still at least relatively relevant.