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2 edition of From slasher"s final-girl to rape revenge"s victim-hero found in the catalog.

From slasher"s final-girl to rape revenge"s victim-hero

Sharon King

From slasher"s final-girl to rape revenge"s victim-hero

a study of female representation in the modern horror film.

by Sharon King

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  • 33 Currently reading

Published .
Written in English


Edition Notes

ContributionsManchester Metropolitan University. Department of English and History.
ID Numbers
Open LibraryOL17425184M

Slasher is a Canadian television horror anthology series. Produced in association with the Canadian network Super Channel, Slasher is the first original series by U.S. TV channel Chiller, which premiered the series on March 4, , at pm EST. Super Channel aired the show's Canadian premiere on April 1, The series' first season, starring Katie McGrath, which centers on a mysterious. Slashers are generally built around an axis of violence/revenge. You have some horrible all-powerful Thing, which systematically tortures and murders in an apotheosis of satisfying sadism. And then, in the second half, the poles are switched, hunter becomes hunted, . Fecund Horror: Slashers, Rape/Revenge, Women in Prison, Zombies and Other Exploitation Dreck Self-Published in , pages. By Noah Berlatsky. This was a tough one. I had a feeling that this might fit into one of my Psycho-Babble categories, and boy, was I right.   The horror genre, specifically slasher and revenge films, which got their start in the s and continued on throughout the decades, have a complex relationship with gender politics. Some films have used the sexuality of their female characters as a testament to the power of the woman, while also attacking the hyper-masculinity of American.

On the surface, the plot summary of Suspiria is simple enough: An American ballet student finds herself at the center of a series of gruesome murders at an academy in Germany. But the movie is deeply complex. Argento’s use of lurid, florescent colors (the blood is almost day-glo pink) and a score by the prog-rock ensemble Goblin made it a shocking movie when it was released in The "final girl" in TCM isn't a "final girl" at all, insofar as the slashers defined that convention. In the context of the slashers, the "final girl" was exactly as you described her--the virginal good girl who babysits the kiddies while her horny friends are out partying. That's how she's able to survive and to defeat the menace. As long as Slasher keeps using lesser known actors / actresses, the show shouldn't be in danger. I just wish it had more publicity. I had no idea season 3 of Slasher was coming until a week ago when the trailer came up on YouTube as a recommended video. If Slasher .


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From slasher"s final-girl to rape revenge"s victim-hero by Sharon King Download PDF EPUB FB2

Full text of "Hard Core Power, Pleasure, and the frenzy of the Visible" See other formats. Williams Linda Hard Core Power Pleasure and the Frenzy of the Visible - Free ebook download as PDF File .pdf), Text File .txt) or read book online for free.

Scribd is 5/5(4). Now I know that Revenge is less a slasher and more a film about reclaiming the rape-revenge genre for women, Jen (Matilda Anna Ingrid Lutz) breaks every single piece of the a final girl is resourceful and fights back, she never sins beforehand.

She isn’t a. In her book Men, Women, and Chainsaws: Gender in the Modern Horror Film, Carol J. Clover charts the rise of the Final Girl from slasher films of the s and s, The Texas Chainsaw Massacre being the clearest and most definitive example of the trope and current works like Netflix’s Hemlock Grove toy with the theme in interesting ways.

Do the pleasures of horror movies really begin and end in sadism. So the public discussion of film assumes, and so film theory claims. According to that view, the power of films like Halloween and Texas Chain Saw Massacre lies in their ability to yoke us in the killer's perspective and to make us party to his atrocities.

In this book Carol Clover argues that sadism is actually the lesser part /5(7). The term “final girl” is now as ubiquitous in horror culture as “slasher” and “jump scare.” The phrase was first coined by Carol J.

Clover’s Men, Women, and Chainsaws: Gender in the. Slasher is a Canadian anthology horror television series created by Aaron Martin. It premiered on Chiller on March 4, and on Super Channel on April 1, The licensing rights for the second season were acquired by Netflix in January The second season was released on Octo On August 8,the series was renewed for a third season, which premiered on The term was coined by Carol J.

Clover in her book Men, Women, And Chain Saws: Gender In The Modern Horror Film, a critical examination of slasher movies. The character is ultimately the last one left to tell the story.

If the Final Girl appears in a sequel to the movie she survived, there is a very high chance that she will fall victim to Sudden Sequel Death Syndrome. As with Clover’s “final girl,” it is clear that the women in rape-revenge films are not merely the blank canvas for men’s criminality.

Barbara Creed () sought new terminology in. Clover, however, argued the reverse: that these films are designed to align spectators not with the male tormentor, but with the female tormented - with the suffering, pain, and anguish that the "final girl," as Clover calls the victim-hero, endures before rising, finally, to vanquish her oppressor.

Whether you were the one being the bullied or the one doing the bullying, all of us have at one point or another come face to face with the cruel potential of life’s social interactions.

Listen. The 20 Best Female Revenge Movies of All Time. Posted on Ap September 2, by Angeliki Katsarou. Women in cinema – just like in real life – have been routinely victims of physical and psychological abuse, mistreatment and discrimination.

Prey of sexism and its violent by-products, the big screen representatives of the female. The title of the movie was Day of the Woman but the distributor changed it to I Spit on your poster showed an image that wasnt in the movie at all. Just as Psycho is often thought to be the first modern horror movie and Halloween the first slasher movie, ISOYG is the first rape-revenge movie.

Its not, of course theres Bergmans The Virgin Spring () for instance/5(4). The term was coined by Carol J. Clover in her book Men, Women, and Chain Saws: Gender in Modern Horror Film, who had this to say about the appeal of the final girl trope. Final Girl. out of 5 stars si no por el bajón que el filme ha supuesto para mi.

Soy un fanático del sub-género de Rape and Revenge, y llegaba con muchas espectativas para ver esta REVENGE, y no ha cumplido con lo esperado, es un película que por momento se confunde con un vídeo clip y que en ningún momento cumple con los mínimos Reviews: The cool thing about the rape/revenge end of slashers is that narratively they reverse the transition of audience identification.

In the good slasher movies, because they all rip off Black Christmas and Halloween, you as a viewer start out seeing through the killers eyes and by the end you're on the side of the victim, going after the killer. Slasher films would be a contender for the bottom slot if I were to rank the horror genres in order of my preference.

However, they make sense as a starting point to this blog for a couple of reasons: I live in Bowling Green, Kentucky and I saw the best horror film I’ve seen in some time last night and it thoroughly embraced the classic slasher formula.

Do the pleasures of horror movies really begin and end in sadism. So the public discussion of film assumes, and so film theory claims.

Carol Clover argues, however, that these films work mainly to engage the viewer in the plight of the victim-hero, who suffers fright but rises to vanquish the forces of oppression.

Clover, a medievalist, had written extensively on the literature. women as the slasher film is, but the fact is that the slasher does, in its own perverse way and for better or worse, constitute a visible adjustment in terms of gender rep resentations" (64).

In Chapters 2 and 3, Clover argues for the equally unlikely progressive politics inher ent in the possession and rape-revenge film.

Aptly noting that. In her book Men, Women, and Chain Saws, film professor Carol J. Clover suggests that she is both: a hybrid "victim-hero," whose dual role is enabled by the cultural reaction to feminism – as. The "survivor" of Cry Wolf (also provides the film's "twist" ending).

The movie Shrooms gleefully takes aim at the whole concept of the Final Girl. At the end the Final Girl discovers that she herself is the killer, having been driven insane by the titular Shrooms.; In High Tension, a lesbian spends most of the film trying to rescue the girl she likes from the hands of a slasher.

First up was artwork and casting news for Tyler Shields' slasher Final Girl: Carol J. Clover in her book won't simply watch rape-revenge films because there is a decent likelihood of. From its first publication inMen, Women, and Chain Saws has offered a groundbreaking perspective on the creativity and influence of horror cinema since the mids.

Investigating the popularity of the low-budget tradition, Carol Clover looks in particular at slasher, occult, and rape-revenge. The similarities between the slasher film and the rape-revenge film are obvious from the writings of many theorists, particularly Creed, Clover, and Dika.

The femme castratrice is associated with both genres and as a result the role of women in these horror films has changed over time, remaining generally fairly negative. I think if the women have been raped and take revenge they're more disturbed than they are proactive (if you disagree, the rape-revenge genre will meet your needs).

I'd also remove any movies where a woman plays the "bad guy" - either by proxy or otherwise, I don't see this as a proactive character, they're not defined by their gender - they. The final girl is a trope in horror films (particularly slasher films).It refers to the last girl or woman alive to confront the killer, ostensibly the one left to tell the story.

The final girl has been observed in many films, including The Texas Chain Saw Massacre, Halloween, Alien, Friday the 13th, A Nightmare on Elm Street, and Scream. The Texas. Men, Women, and Chain Sawsinvestigated the appeal of horror cinema, in particular the phenomenal popular-ity of those “low” genres that feature female heroes and play to male audiences: slasher,occult,and rape-revenge genres seem to.

Obviously, I got kind of behind with my posts about my horror course as the semester went on. My best intentions weren't enough, clearly. I do want to write about the rest of the semester, however, and this post is a start. I left off with Week 5, so I'll pick up with Week 6: Gender and Sexuality.

This week included Halloween (). Meir Zarchi was not trying to make a fun, friendly, family movie when he wrote, directed, and produced the graphic depiction of rape and comeuppance that is I Spit on Your Grave.

The film is disturbing on several levels, but as one critic says, it’s supposed to be. Clover points out that the gritty realistic extreme approach that Zarchi takes, “reduces the genre to its essence” ().

This is a standalone/follow-up podcast to my last episode on American slasher films. In this episode I discuss early slashers from the s, the Final Girl trope, and complex personhood.

I look at The Last House on the Left, The Texas Chainsaw Massacre, and Carrie as prototypical films that define and develop the trope which has become a. SOURCE: Her Body, Himself: Gender in the Slasher Film Carol J. Clover The Cinefantastic and Varieties of Horror On the high side of horror lie the classics: F.

Murnau's Nosferatu, King Kong, Dracula, Frankenstein, and various works by Alfred Hitchcock, Carl Theodor Dreyer, and a few others—films that by virtue of age. Final Girl: Horror, Action, and Gender A poster for Tyler Shields’ Final Girl that highlights the gender division at play This article is a spoiler-heavy exploration of Tyler Shields’ thriller Final Girl.

1 This is not to be confused with Todd Strauss-Schulson’s The Final Girls or the overarching term “Final Girl”—which will be discussed. "rape/revenge" ordeals, Clover posits that the viewer, either masculine or feminine, identifies with the rape victim, experiencing both the powerlessness of being raped and then the empowerment of seeking revenge.

According to Clover, this powerlessness is engendered feminine whether the victim is. From its first publication inMen, Women, and Chain Saws has offered a groundbreaking perspective on the creativity and influence of horror cinema since the mids.

Investigating the popularity of the low-budget tradition, Carol Clover looks in particular at slasher, occult, and rape-revenge s: The country people attack and violate city people for revenge, only to have those people come back to exact revenge as well.

The lower versions of rape revenge films have women exacting their own revenge, which gives them agency and power. It also often criticizes the justice system that rarely works in favor of these rape victimes.

Women in Horror Month (WiHM) Event Film Studies Search this Guide Search. Women in Horror Month (WiHM) Event slasher, occult, and rape-revenge films.

Such genres seem to offer sadistic pleasure to their viewers, and not much else. pain, and anguish that the "final girl," as Clover calls the victim-hero, endures before rising, finally. In the original, Jennifer is raped on screen for 25 minutes, the longest rape scene in the history of film.

Back in the 70’s in the heyday of feminist horror, films like Carrie () and The Last House on the Left () could show as much nudity and violence as writers freedom to show a near half-hour gang-rape scene followed by vicious murders and a castration is one of.

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 ().In this book, Clover defines and explores the role of the surviving female character and labels her the “final girl.”.

Find many great new & used options and get the best deals for Men, Women, and Chain Saws: Gender in the Modern Horror Film by Carol J.

Clover (, Paperback) at the best online prices at eBay. Free shipping for many products. In the first book-length study of violent women in movies, Reel Knockouts makes feminist sense of violent women in films from Hollywood to Hong Kong, from top-grossing to direct-to-video, and from cop-action movies to X-rated skin flicks.

The slasher film was the first genre that allowed gender norms to take a different path. The role of the final girl confused audiences with the portrayal of a female being a violent hero. Finally, the female heroines who defeated monsters could be categorized as the final girl. The final girl is the "first character to sense something amiss and the only one to deduce from the accumulating.Men, Women, and Chain Saws investigated the appeal of horror cinema, in particular the phenomenal popularity of those "low" genres that feature female heroes and play to male audiences: slasher, occult, and rape-revenge films.

Such genres seem to offer sadistic pleasure to their viewers, and not much s: A slasher film is a subgenre of horror films involving a killer murdering a group of people, usually by use of bladed tools. Although the term "slasher" is often used informally as a generic term for any horror film involving murder, film analysts cite an established set of characteristics which set these films apart from other subgenres, such as splatter films and psychological horror films.