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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 was so glad Jenna was finally looking into them—it wasn’t their fault they hadn’t been there for her.

She did provide us with the idea of the Final Girl, and there are other moments where she highlights quite intriguing ideas about horror films (her analysis of Peeping Tom is notable). 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). men, women, and chainsaws is an incisive piece of psychoanalytic film scholarship that codifies and interprets three sub-genres of "low" horror: slasher, possession, and rape-revenge movies. I think this must be at least partly the case because of the shock that Wes Craven’s Scream (which makes great use of Clover’s scholarship on the final girl) was able to generate by killing off Drew Barrymore’s character within the first ten minutes of the movie.It was the perfect way to start my day today, and this intense and supernatural tale of revenge has all the hallmarks of what makes Stephen Graham Jones’ stories so irresistible. First, Clover highlights the common misreading of Halloween as a film that punished female sexuality. Unlike Stephen King's Christine, which any horror story featuring a car will ultimately be compared to, there is actually a sweet (though still twisted) side to the story too. Clover examines rape revenge and possession movies, as well as theories around the voyeur, with ideas centred around who is watching who.

Letterboxd is an independent service created by a small team, and we rely mostly on the support of our members to maintain our site and apps. but i would only recommend this book to people that have serious interest in psychoanalytic film theory and horror, because otherwise it's pretty dense and a little dated. Come sunrise, they were going to have to tackle her to get her to stop, and then they’d better get those cuffs on her fast, because she was going to be trying to slip away, pick that sledgehammer up one more time, come at that rusted-out memory like a fucking Valkyrie. 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. But my complaints aside, I still enjoyed this book, I appreciated that it gave me things to think about, and I'd make the argument that it's something anyone interested in horror media should really consider reading and using for points of discussion.

Just to look up at the faded old screen, half its huge white tiles missing, the other half peeling at the corners. Gender in slasher films is not very straightforward, and slippages and mutations within gender representations can occur throughout a slasher film.

Angry displays of force may belong to the male, but crying, cowering, screaming, fainting, trembling, begging for mercy belong to the female. If you do not have a society account or have forgotten your username or password, please contact your society. He never really mentioned the book being any influence to any degree on him on writing Kill Bill… he did happen to have it recommended at a time when he was writing Kill Bill early on (early 1999)… so it could have provided early framework for Uma Thurman’s character… but who knows ultimately what influence it will have had since he has been writing Kill Bill for at least the last 3-4 years (finishing late last summer).

Never share you, girl,” Victor said, planting a kiss on her lips, and backed off, pulled his mom’s 35mm out. com Original” by Stephen Graham Jones is an interesting short story about a creepy car, revenge, and of course, chainsaws. For example, she spends the better part of the third essay talking about Deliverance in explicit detail, while name-dropping other actual horror films with nary a description. Favorite novels change daily, but Valis and Love Medicine and Lonesome Dove and It and The Things They Carried are all usually up there somewhere.

What she meant by real was that they were the only ones she’d ever known, her bio-parents having died in a wreck before she was even one. 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. Halloween is an exceptional example, however, because the Final Girl, Laurie, appears alongside the killer Micheal in the sequel. Carol Clover's compelling [book] challenges simplistic assumptions about the relationship between gender and culture.They are, in fact, protagonists in the full sense: they combine the functions of suffering victim and avenging hero. Something I truly enjoyed was the way you can feel Jones’ excitement about all the references built into the story, which in turn makes you excited about them (even though I really know nothing about cars and have never seen the film, but it’s like how you get excited about things your friend likes because you are just happy to see them happy). So it is through this ability towards self-help that female victims within the modern horror film are able to turn themselves into masculine final girl heroes. For librarians and administrators, your personal account also provides access to institutional account management.

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