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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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Halloween is an exceptional example, however, because the Final Girl, Laurie, appears alongside the killer Micheal in the sequel. I read this as one of my "20 Books of Summer" challenge (to help clear at least a little of ypur TBR). Including a new preface by the author, this Princeton Classics edition is a definitive work that has found an avid readership from students of film theory to major Hollywood filmmakers. Subversion in genre lit is unsurprising, to put it mildly, but the fact that horror is more feminist than legal dramas is both surprising and completely logical.

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. Still, there’s a lot to consider in Men, Women, and Chainsaws, with respect to the way gender is treated as more flexible in horror than other genres, yet still with constraints, and often punishments, in a sense, for those who stray outside ‘norms’. Clover suggests we see women characters frightened more, but I'm not sure I entirely agree with even that. Its an interesting book about how genders are portrayed in horror films, slasher films and rape revenge films. A paradox is that, since the late 1970s, the victim-hero is usually female and the audience predominantly male.I wonder if this also includes emotional identification with the killer and/or final girl based on the film’s marketing. To only have Jessica (“Spit”’s victim) as our hero is unacceptable as our only perspective, not to mention that she leaves no witnesses to her triumph (which leads to a whole other thesis point), because the SA victim is seen as less.

While this isn't my favorite of his blood drinkers (that honor—so far—remains with "Wait for Night"), it's certainly the most inventive, which earns it points! Still, it’s a key horror text, cited by many and which introduced the term “Final Girl” into the horror lexicon.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. The writing is crisp and succinct and a bit less dry than reading, say, Laura Mulvey, but still dense with ideas and academic enough to satisfy the snob in me. however if you are, like most people nowadays, skeptical of the accuracy of freudian theory, this idea just comes across as a very intricate hypothetical.

Always and forever, babe,” Victor assured her, and, like that, she hiked herself up onto the Camaro’s hood. The devoted horror buff will probably enjoy Clover’s initial analysis of horror films for its own sake, but reaching past this there is something more significant on offer.e.: Norman Bates) can fit into the normal world and ‘pass’ as a normal male, however most slasher killers are only marginally human (i. Clover actually bothers (as few have done before) to go into the theaters, to sit with the horror fans, and to watch how they respond to what appears on screen. Instead of approaching the Camaro, even though she could If you can pick this book up, it would be good to learn more about psychological elements in films like “Repulsion”, “I Spit on Your Grave”, “The Exorcist” ,“Ms 45” and other female based horror- exploitation films.

She’d heard he was back, that he was using his experience on his series of offshore rigs to bag girl after girl, but seeing him in the flesh was a whole other thing. So I thought I would give another of the Tor originals a go and I have to say I really enjoyed this short story by Stephen Graham Jones (I so recognise that name I will have to go and read up on him now).Thesis: There are a number of component categories of the slasher film which help to create the genre: killer, locale, weapons, victims, and shock effects.

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