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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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for me, the strongest aspect of the book is the way she traces the origins of these sub-genres and their influence on later "high-brow" films that garnered more critical acclaim. It is no accident that male victims in slasher films are killed swiftly or offscreen, and that prolonged struggles, in which the victim has time to contemplate her imminent destruction, inevitably figure females. If, as their detractors would have it, horror films offer satisfaction of sadistic desires then they offer as much to the masochistic ones or more.

There are some great subtle touches including all the - yes you guessed it - horror movie references, especially focusing on the clichés and how they hope they will work out for them. 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. His surfer-blond hair was shaggy and kind of naturally feathered, and her black-black hair was arrow-straight, long enough to be caressing the gear shift, and both of them were still wearing whatever that day’s odd job had been: chaff and grass, woodchips and dust.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's an excellent book if you are interested at all in gender studies, feminist analysis of film or horror.

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. This book, from 1992, while being real film theory, is culturally notorious, for the first use of term Final Girl which took on a life of its own, especially in recent years ( I have seen it become much more popular).

Factor in one leaky exhaust and some rolled up windows, and before they knew it, the inside of the car was roiling with carbon monoxide and they were asleep, never to wake up.

It was still sitting on its turbine wheels, no rubber, and it was still a rust bucket, but there was no denying that this was the same Camaro from the junkyard. She makes some excellent points throughout, but there’s heavy reliance on (by now) outdated ideas, especially in regards to the idea of the audience. The central character's knowledge of slashers and her intense personality brought to mind Jade from the author's The Lake Witch trilogy, so I found myself rooting for her despite her questionable morality. 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.Short stories are generally hit or miss for me, but Stephen Graham Jones is always on point within this format. A paradox is that, since the late 1970s, the victim-hero is usually female and the audience predominantly male.

While the Final Girl concept is the most referenced and recognized aspect of Men, Women, and Chainsaws, the rest of the book is important as well. 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. They also could’ve already begun identifying with Drew Barrymore’s character as the final girl which could’ve been part of the reasons why this film’s first scene managed to create such a big shock. Prior to this book, horror was either ignored by “serious” critics and scholars, or condemned as hopelessly misogynistic.I read this as one of my "20 Books of Summer" challenge (to help clear at least a little of ypur TBR).

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