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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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She did still have one snapshot of them—her mom had insisted she’d want it someday—but other than that, all she had was a mix of their blood, she figured. And, no, she knew she didn’t have a smile that knocked them dead like Caroline Williams’s—Stretch from Texas Chainsaw Massacre 2—and, sure, okay, so her skin was probably about ten shades darker than Stretch’s ever would be, even after a week in the Bahamas, but she had those same forever legs, anyway. 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. The fact that horror deals with sensitive and disturbing subjects, while also often being pretty fun, is one of the most unique and compelling aspects of the genre.

Access to content on Oxford Academic is often provided through institutional subscriptions and purchases. I’m thankful that this book gave us the term “Final Girl” and made a serious attempt at analyzing the tropes of the genre. 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. Gender in slasher films is not very straightforward, and slippages and mutations within gender representations can occur throughout a slasher film. Her lie about needing the Subaru Brat they shared was enough to get Jenna dropping Cray-Cray off at the salon, with a promise to be there to pick her up right when the Chevy house closed.Just to look up at the faded old screen, half its huge white tiles missing, the other half peeling at the corners. Back in the Subaru, not ready yet to push-start it across this baking-hot parking lot, thanks, Jenna opened the cigar box she kept her special shit in, that she’d dug up hours before sunrise. I also generally disagree with the author's takeaways, but found her analysis to be interesting/worthy of consideration. 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.

There’s a lot about the movie that’s open to interpretation, but who should be blamed for a rape is not a question that it poses. I'd be interested to see takes dealing with genders outside men and women and the role transgender and other queer readings play into films.On the other side of the coin, this is also a bit of an outdated read and far too much time was spent on Freud for comfort. It wasn't my top favorite story of all time from SGJ, but I definitely enjoyed it and would recommend it to anyone who likes this fantastic author as much as I do! obviously the coining of the term final girl is iconic, and i also enjoyed the rape-revenge chapter's argument that the genre was a natural progression from the westerns of the 30s and 40s.

Clover examines rape revenge and possession movies, as well as theories around the voyeur, with ideas centred around who is watching who. the gist of clover's argument is this: critics and feminists assume that young men like slasher and rape revenge movies because they get sadistic pleasure from watching women suffer, when in reality they get a masochistic pleasure from identifying with the woman (final girl of the slasher or victim/hero of the rape revenge).Men, Women, and Chain Saws: Gender in the Modern Horror Film is a non-fiction book by American academic Carol J. You can’t claim to study slasher films (or horror films more generally) without first reading Carol Clover’s field-defining text Men, Women, and Chainsaws (1992).

Still, it’s a key horror text, cited by many and which introduced the term “Final Girl” into the horror lexicon. My issues with her approach to Carrie started in chapter two, but she grossly misunderstood and skewed the knowledge of Firestarter to the point I felt like she was really reaching for an excuse to include it and force it like a square peg into a round hole for the "Eye of Horror" chapter. I’ll just—” Jenna said, but Cray-Cray didn’t need to hear the rest: she was already stepping out her side, striding across to the trailer, her long legs eating up the distance.In the chapter, “Her Body, Himself,” Clover coined the term “Final Girl” to describe the lone female survivor of slasher films.

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