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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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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. Clover examines rape revenge and possession movies, as well as theories around the voyeur, with ideas centred around who is watching who. I read this as one of my "20 Books of Summer" challenge (to help clear at least a little of ypur TBR). This all is true, however, where does this reading leave us when Laurie drops the knife/knitting needles?

this over-reach, and the fact that clover is herself not a fan of horror cinema, makes her ideas about their audiences seem slightly tone-deaf and hollow. Instead of approaching the Camaro, even though she could Under the rust she’d touched, there was that distinctive midnight blue that so many of these Z/28s had been painted with.however, clover's argument about what audiences get out of horror--the main project of the book, according to her--ultimately falters. 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. Thesis: Horror’s target audience, adolescent males, are able to identify with a female character (at least for most of the film) because horror operates partly through a one-sex system in which gender is determined by behavior rather than anatomy.

Men, Women, and Chainsaws makes for an excellent Halloween read featuring revenge, female rage, and tons of references, so I would definitely recommend it to fans of the horror genre.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. Desmond Ryan, Philadelphia Inquirer "Fascinating, Clover has shown how the allegedly naive makers of crude films have done something more schooled directors have difficulty doing - creating females with whom male veiwers are quite prepared to identify with on the most profound levels"--The Modern Review "It's easy to see why this book is considered such a landmark in film analysis. The powdery rust was griming up the ass of her jean shorts, she knew, and probably painting the backs of her thighs, too—definitely her palms, already—but her boots were the same color.

Clover has a very engaging essay style, and thankfully I was also familiar with the majority of her primary references. 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). It was written in 1992, so some of the language is dated, but her textual examples are still on point; the 70s and 80s was the Renaissance of horror films. Because horror is a genre that creates physical reaction (see my notes on Carroll’s Philosophy of Horror), the audience takes on the female victim role, while the film itself becomes a male attacker/monster. 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.

Men, Women, and Chainsaws: Gender in the Modern Horror Film (1992) by Caitlin Duffy is licensed under a Creative Commons Attribution-ShareAlike 4. Clover takes a detailed look at a select number of films, across the horror genre at the time she was writing. 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. And—this was the first she’d been in this box since forever—the ring box Victor had proposed to her with. Clover makes a convincing case for studying the pulp-pop excesses of ‘exploitation' horror as a reflection of our psychic times.

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