Men, Women, & Chain Saws – Gender in the Modern Horror Film: Gender in Modern Horror Film

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It felt like one of those B-movie adventures with the lurid title and even more lurid trailers - and I mean that in the best possible way as really this is what it is, one of those great revenge stories that can only happen on the screen (or in this case the word).

Men Women and Chainsaws | PPT - SlideShare Men Women and Chainsaws | PPT - SlideShare

Past Stoker Award Nominees & Winners". Horror Writers Association. Archived from the original on January 13, 2008 . Retrieved January 22, 2011. Kind of a dry read, like a term paper would be. But it does have a lot of good information in it, as well as other research in the footnotes. I liked it overall. urn:lcp:menwomenchainsaw0000clov:epub:f632b596-4b8a-4a76-8f20-76d2c54b2873 Foldoutcount 0 Identifier menwomenchainsaw0000clov Identifier-ark ark:/13960/s2r33pj0vph Invoice 1652 Isbn 0851703313 Published by Princeton University Press 2015 Men, Women, and Chain Saws Gender in the Modern Horror Film - Updated EditionDo 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. The death of a beautiful women is the most poetical topic in the world.' - Poe.] As horror director Dario Argento puts it, 'I like women, especially beautiful ones. If they have a good face and figure, I would much prefer to watch them being murdered than an ugly girl or man.'" The thing for me is, I’m just not into cars at all. That’s probably why there was a bit of a disconnect with me in that aspect but there were some good horror elements and relatability to this as I kept reading. No doubt, if I loved cars, this would have been given a higher rating in my book.

Men, Women, and Chainsaws: Gender in the Modern Horror Film Men, Women, and Chainsaws: Gender in the Modern Horror Film

In her reading of both particular horror films and of film and gender theory, Clover does what every cultural critic hopes to: she calls into question our habits of seeing. ---Ramona Naddaff, Artforum

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Fascinating, Clover has shown how the allegedly naïve 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

Men, Women, and Chainsaws by Stephen Graham Jones | Goodreads Men, Women, and Chainsaws by Stephen Graham Jones | Goodreads

Men, Women, and Chainsaws: Gender in the Modern Horror Film, Princeton University Press, 1992 and the British Film Institute, 2004 Our main character is Jenna, a woman who has had to deal with a fair amount of loss in her life, the most recent one being that of her boyfriend Victor, who went to work on oil rigs and sent her a break up letter. Earlier was the death of her bio parents in a tragedy involving a car. Jenna’s last happy moment with Victor was recreating a photoshoot at a local junkyard involving a junked out Camaro and Caroline Williams of “Texas Chainsaw Massacre 2” fame, and when Jenna finds the Camaro later, the same night Victor comes home and her rejection is flaunted for everyone, things take a turn for the supernatural. It involves bloodletting, a rebuilt car, and a scorned lover’s revenge. But it’s also a story of a woman who has suffered some pretty terrible loss in her life, and how a bloodthirsty car not only can help her seek revenge but also closure. Clover actually bothers (as few have done before) to go into the theaters, to sit with the horror fans, and to watch how they respond to what appears on screen."—Wendy Lesser, Washington PostI may have seriously overestimated my appetite for Freudian psychoanalysis! Some real mixed feelings about this thing. I’m thankful that this book gave us the term “Final Girl” and made a serious attempt at analyzing the tropes of the genre. But it’s weighed down by dated views on gender, some truly baffling takes, and just way too much Freud. stars rounded down, primarily because I've only seen a handful of the films examined in the text (of note, Carrie and the original I Spit On Your Grave), so it was a bit difficult to really get into it. I also generally disagree with the author's takeaways, but found her analysis to be interesting/worthy of consideration. And yeah, the Freudian stuff is completely exhausting. Of course there’s a lot to be said about the sexual subtext of many horror films. But wow, I never knew there were so many ways to subconsciously symbolize genitalia. Penises and vaginas and metaphorical sex as far as the eye can see! And this focus on phalluses really brings the bio-essentialist perspective to the forefront, which makes it all even worse. Various genres are covered (slasher, possession, haunting, revenge-I Spit On Your Grave gets a lot of attention), as well as films that influenced horror, like the Alien movies, Deliverance, and even The Accused. Then, eventually, at the end of so many years, they buy a camper, set out to see America, right? Why not. Just, now, instead: this. Bleeding into a magical car for too many nights, gambling on ghosts, and hoping nobody asks too many questions."