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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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)

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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It was like he’d hit the lottery: steady work, money in the bank, that cool scar, and a near-death experience. The supernatural element here pays homage to a long line of horrors featuring (possibly) possessed (or otherwise ) cars. By using this model horror films add a further instability to their already unstable universe: now there is “slippage and fungibility, in which maleness and femaleness are always tentative and hence only apparent” (14).

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. So when I found out he had put out a new story this year, Men, Women, and Chainsaws, I HAD to read it as soon as possible (you can read the whole thing here). Although horror films are broadly discussed, three main threads are examined in detail: slasher films, satanic possession films, and rape-revenge films. Jones builds the story through Jenna’s narration, often having you witness events without much context for the motivations. SGJ is always fun to read, and his short stories are awesome little slices of gritty East Texas life, with lots of dusty flat spaces and flea bitten dogs under dilapidated trailers.A paradox is that, since the late 1970s, the victim-hero is usually female and the audience predominantly male. 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. Because, fifteen years later, all the sets and props and whatever from Chainsaw 2 were gone, a backdrop of old rusted cars would havehad had to stand in for the movie.

I loved learning more about the genre, the author is obviously a very distinguished scholar in her own right and this is a foundational book to read on the subject.

I don’t think I’ll be able to watch another horror film the same, and it has definitely ignited a passion in me about the subject. Without looking back—not needing to—she casually hung that jagged aluminum out to the side, dragged it from Victor’s taillight all the way up to his headlight, waving the trim up and down. 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). Her real parents had raised her right and given her every chance, but now, in this violent fairy tale she'd stumbled into, her first parents were coming back to protect her.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. 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. 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.



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