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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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If they have a good face and figure, I would much prefer to watch them being murdered than an ugly girl or man. The party hadn’t even dialed its volume down from the glass breaking, meaning either nobody cared or she was too far away for anyone to have heard. To examine an objectively outsider view of the genre through the lens of a relative outsider (in her foreword Clover states as much) to the genre is endlessly fascinating and she makes valid and interesting points, especially in regards to representation of victim and killer in sub genres.

Clover suggests we see women characters frightened more, but I'm not sure I entirely agree with even that.Please consider upgrading to a Pro account—for less than a couple bucks a month, you’ll get cool additional features like all-time and annual stats pages ( example), the ability to select (and filter by) your favorite streaming services, and no ads! The lesson was not lost on the mainstream industry, which was soon turning out the formula in well-made thrillers.

I’ll repeat my praise for it taking the genre seriously and diving very deep, but I just want better takes from a better perspective. Her predictions come across as somewhat cute (such as the lack of zombie films [could i live in this time line? I’m thankful that this book gave us the term “Final Girl” and made a serious attempt at analyzing the tropes of the genre.But it’s weighed down by dated views on gender, some truly baffling takes, and just way too much Freud. the “certain link” that puts killer and Final Girl on terms, at least briefly, is more than “sexual repression. Although such movies have been traditionally understood as offering only sadistic pleasures to their mostly male audiences, Clover demonstrates that they align spectators not with the male tormentor, but with the females tormented--notably the slasher movie's "final girls"--as they endure fear and degradation before rising to save themselves. But the main takeaway from it is the reliance on Freudian psychology, the definition of Final Girl, and an overreliance on particular films. Clover seems to be one of the few critical apologists for these films in an era when Siskel and Ebert, and other less visible critics, were bashing them at length.

Castration; Witchboard; Male gaze; Pornography; Frankenhooker; Blood Diner; Incubus; Great Male Renunciation; Redneck; Body Double; Mad scientist; Tootsie; Libido; Incest; His Woman; Videodrome; Sam Peckinpah; Leonard Maltin; Hunter's Blood; Butcher knife; Robert Siodmak; David Lynch; From Reverence to Rape; Psychoanalysis; David Cronenberg; Brian De Palma; Pumpkinhead (film series); Scanners; Susan Brownmiller; Carrie White; Jacques Lacan; Cannibalism; Castration anxiety; Penis; Gaze; Some Men; Act of Violence; Splatter film; Strait-Jacket; Those Who Trespass; The Eye Creatures; Diegesis; Vampyr; Ghoulies; Rape culture; The Two Mrs. 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. 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. Jones builds the story through Jenna’s narration, often having you witness events without much context for the motivations.com Original” by Stephen Graham Jones is an interesting short story about a creepy car, revenge, and of course, chainsaws. It is through pain and trials that the final girl can become manned, she must pass from victim to hero. Do you like Camaros, Texas Chainsaw Massacre 2, classic horror cinema, and all out sense of past haunting dread?

Men, Women, and Chainsaws" follows Jenna, who has been abandoned by both her adopted parents and her man-ho fiancé. This doesn’t feel like someone who is a fan of the genre, as such, but someone who still kind of wants to champion it as a genre and validity of studying it. She makes the point that film critics, indeed previous criticisms, view horror through a myopic lens, with which I agree. I also generally disagree with the author's takeaways, but found her analysis to be interesting/worthy of consideration.

John Carpenter responded to this claim by stating that Laurie was able to fight against Micheal because she has a lot of repressed sexual energy, not because she’s a virgin. Surprising herself, then, she reared back and slung the half-full bottle at one of the speaker posts, the bottle shattering hard enough that some of it came back at her.

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