men women and chainsaws gender in the modern horror film

While many aspects of the book are still relevant today, the horror genre has gone in new directions, sometimes creating new subgenres that are now likewise being unfairly dismissed and condemned. Men, Women, and Chainsaws is now 25 years old. The final chapter, “The Eye of Horror,” discusses the role of voyeurism in the enjoyment of horror and the issue of viewer identification with killers and victims. The chapter “Getting Even” explores rape-revenge films, particularly I Spit on Your Grave, one of the most unfairly reviled and condemned films of its type. “White Science” (think of The Serpent and the Rainbow as a prime example of this).

In “Opening Up,” Clover explores gender role subversion in supernatural horror films, as well as racial politics along the lines of “Black Magic” vs. 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.

Usually the Final Girl is virginal, tomboyish, and more resourceful than her peers.

In the chapter, “Her Body, Himself,” Clover coined the term “Final Girl” to describe the lone female survivor of slasher films. Tyler Shields), Final Girls: A Novel (2017, author Riley Sager), The Last Final Girl (2012, author Stephen Graham), Final Girls (2017, author Mira Grant), and Last Girl Standing (2016, dir. Todd Strauss-Schulson), Final Girl (2015, dir. If you are wondering why there are films and novels with titles like The Final Girls (2015, dir. Clover also argued against the notion that the predominantly male audiences of the time identified with the (usually) male killer, stating that audience members identified across gender lines and with the surviving female character.Ĭlover is perhaps the only academic author to influence horror filmmakers in a signifiant way, and even appeared in the pseudo-documentary S&Man (Sandman). Men, Women, and Chainsaws did a lot to legitimize the genre and argue for feminist subtexts in the horror films of the 1970s, ’80s, and early ’90s. Prior to this book, horror was either ignored by “serious” critics and scholars, or condemned as hopelessly misogynistic. Clover’s Men, Women, and Chain Saws: Gender in the Modern Horror Film is hands down the most important work of horror film criticism, and one of the most important works of film criticism, period. Today, I’m reviewing the scholarly book that every horror fan and has to read.

Men women and chainsaws gender in the modern horror film