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slasher films. Slasher films of the 1990s portray an act of brutal violence an average of once every two and a half minutes. Also, characters are shown in terror an average of three and a half minutes longer in slasher films in the 1990s. According to Gloria Cowan and
Margaret O'Brien, experimental studies have been done to show the effects of viewing R-rated violent films have found "increased acceptance of interpersonal violence and rape mythology". These studies have also found desensitization with "carry-over attitude effects" towards victims of violence. These studies have shown, that after viewing slasher films, college male students have less sympathy for rape victims, see them as less injured, and are more likely to endorse the myth that women enjoy rape.
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audience to resonate with the strong female character left to kill the monster. Clover seeks to suggest that masochistic impulses are seen within the male spectator who finds a "vicarious stake in" the "fear and pain" the final girl endures by the monster's torturous actions. Additionally, Clover claims that the central figure of horror movies, even those promoted as female-centric, is typically "a man in crisis" in actuality. Researchers like Nolan and Ryan have reported that male audiences largely remember scenes that involve empty fields and unknown strangers or what they have ascribed as "rural terror."
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Mulvey argues, the female character "exists only to be looked at." When female audiences gaze upon the screen and when the women on the screen are involved in the gaze, they see "a distorted reflection of" their own image. "The monster is thus a particularly insidious form of the many mirrors patriarchal structure of seeing hold up to the woman." Linda
William believes that the woman's gaze is "so threatening to male power, it is violently punished." Researchers like Nolan and Ryan have were informed that women more-likely remember scenes revolving around being stalked, possessed, or betrayed.
1134:'s Justin Johnson commented on the genre, saying that "If Crawford and Davis didn't carve out this niche with Baby Jane and all the films that followed, then a lot of legendary actresses would not have had third career acts". Peter Shelley has argued that criticism of the psycho-biddy subgenre is inaccurate, as it implies that the actress is lowering her standards by acting in a horror film by also implying that her earlier work is superior. Shelley opined that criticism also implies that the actress is only portraying a character out of her normal range out of desperation.
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Looks", Linda
Williams analyzes the terrified gaze a woman encounters when she looks at "the horrible body of the monster." In that very moment, as the monster and the woman gaze upon one another, there is recognition of "similar status within patriarchal structures of seeing." What the woman gazes at in horror is always first seen by the audience and then, seconds later, by the woman on the screen. This sequence "ensures the voyeur's pleasure of looking" and punishes the woman by "the horror that her look reveals". The monster and the woman's gazes are similar.
1171:, author Adam Rockoff states, "The slasher film typically involves a killer who stalks and graphically murders a series of victims in a typically random, unprovoked fashion. The victims are usually teenagers or young adults who are separated from mainstream civilization or unable to easily access help. These films typically begin with the murder of a young woman and end with a one female survivor who manages to subdue the killer, only to discover that the problem has not been completely solved".
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1828:. Their results showed that the non-surviving females were more frequently sexual than the surviving females and the non-surviving males. Surviving as a female slasher victim was strongly associated with the absence of sexual behavior. In slasher films, the message appears to be that sexual women get killed and only the pure women survive. Slasher films reinforce the idea that female sexuality can be costly. Films such as
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films. Once a woman is related to sex, her sexuality is punished. Klaus Reiser argues, "It is not so much the girls' sexuality per se...but the fact that they have sex with other boys". Sex is considered to be a masculine trait because it is a form of power over someone, and if a woman tries to take control of this power, she will instantly be punished. Her sexual freedom is not within gender-norms, and the
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singled out for victimization in special ways in these films. One of the studies they conducted examines the number of seconds that males and females display fear in these films. If a person watched all 30 films in the
Molitor and Sapolsky study, they would see a total of almost five solid hours of women in states of fear and terror, which compares to less than one hour for males.
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sex was combined with violence, so a comparison between the 1980 and 1990 samples was not conducted. The data do suggest that while the amount of sexual content in the most popular slasher films of the past two decades has remained constant, sexual displays immediately before or during acts of violence have been reduced to a rare event in slasher films released in the 1990s.
1240:, taps into an "undercurrent of anxiety about the place of gendered bodies in relation to torture as well as the connection between gender equality, torture, global capitalist venture, and the passive American consumer." Maisha Wester states in her article, "Torture Porn And Uneasy Feminisms: Re-Thinking (Wo)Men in Eli Roth's Hostel Films", that the popularity of the
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combined with sexual images is believed to affect malesβ emotional reactions to film violence. It has also shown to lead males to be less disturbed by scenes of extreme violence and degradation directed at women, claims the
Molitor and Sapolsky article. Carol Clover states that the implied audience for slasher films are "largely young and largely male".
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acts of self-mutilation out of pleasure but instead "commit acts of violence out of revenge for earlier abuse by parents, partners, rapists, and other offenders." Female monsters will engage in masochistic acts when coerced or attempting to terminate her monstrosity. Briefel provides examples of such masochistic acts by female monsters with films like
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1513:, making it unfamiliar and potentially deceptive. These portrayals can be seen as problematic by many, including those in the transgender community, and overall issues stemming from problematic portrayals of transgender persons is not limited to the horror genre. Per Lucy Miller, the most common depiction of transgender persons is "that of a
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the public and show the extents of that violence in a powerful way." However, instead of bringing these issues to the forefront of public discussion, films in this genre have neglected to cover these issues and provide gendered and racially prejudiced points of storytelling. By reusing and creating trope images and plot devices like the "
1640:". Often, the Chase will feature the woman in various stages of undress and lecherous camerawork that focuses on her body before she is killed in an attempt to mix sex and violence. Female victims in slasher films are shown to be in a state of fear five times as long as males, specifically occurring during "the chase".
1023:, and focus more on injuring or killing female as opposed to male characters. Many also perceive recurring themes of misfortune for male characters who exhibit overt masculinity or sexuality. Audience reception is suggested by researchers to be affected by the respective gender representation depicted in these movies.
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considered linked to violence when one of three types of circumstances occurred. A partially nude female was shown being tortured by the central villain. Martin discussed how there was more time showing female deaths than male and that these women are more likely to be promiscuous and wear revealing clothing.
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writer
Caitlin Gallagher criticized the term "hagsploitation", as she felt that it "shows a certain lack of respect for the actresses who starred in these types of movies", further noting that together with the term "psycho-biddy" the terms "use disparaging terms for older women β "hag" and "biddy" β
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Per
Shelley, for a film to fall within the subgenre the movie must use grande guignol effects and have an actress who portrays the lead character as one "with the airs and graces of a grande dame". He further stated that common hallmarks of actresses in the subgenre included those who were "no longer
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Studies show that the most popular slasher films of the 1990s are more violent than the most commercially successful slasher films released in the 1980s. Specifically, according to this article, there was a 44% increase in the number of violent acts suffered by innocent victims in the 1990s crop of
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Molitor and
Sapolsky looked at the mixture of sex and violence in films of the 1980s versus those of the 1990s. Films from the 1980s contained an average of 9.3 instances of sexuality and 3.1 of these were linked to violence. However, films during the 1990s contained a low number of instances where
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explains the abject as "something rejected from which one does not part, from which one does not protect oneself as from an object. Imaginary uncanniness and real threat, it beckons to us and ends up engulfing us." Kristeva asserts that many are horrified by the abject because "it is something that
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In their article, James B. Weaver and Dolf
Zillmann explain "watching horror films is said to offer viewers a socially sanctioned opportunity to perform behaviors consistent with traditional gender stereotypes and early work on this topic found that males exposed to a sexually violent slasher film
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Linz and
Donnerstein conducted a study on the way viewers reacted to sex combined with violence in slasher films, and found that "Studies show that pleasant, mildly arousing sex scenes that are paired with graphic violence can be expected to diminish aversive reaction to violence in the long run."
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In other cases, violence immediately followed, or interrupted, a sexual act, such as when a couple was shown kissing passionately and the central villain then attacked both or one character. The third type of circumstance consisted of continuous cuts between two scenes, one sexual and one violent.
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feature actresses sexualized for viewer pleasure. Liahna Babener examines the movie, arguing "Beth acts the perfect Total Woman, wearing clingy undershirts and bikini panties around the apartment, primping before the mirror in lacy black undergarments, making a voluptuous ritual out of the nightly
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Ariel Smith states that "by forcing the subconscious fears of audiences to the surface, horror cinema evokes reactions, psychologically and physically: this is the genre's power." The genre holds a great amount of potential to not only explore violence against women and minorities, but also inform
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suggests it is supposedly honorable for males to gaze upon the terror shown on a movie screen while females hide, avoiding these screen images. She also suggests women have the right to feel as if they do not belong since they are shown as powerless "in the face of rape, mutilation and murder". As
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in "Visual Pleasure and Narrative Cinema", describes the depiction of female characters in a sexualized, de-humanizing manner. Mulvey states that, because the media depict women as they are observed through the male gaze, women tend to take on this male perspective. According to this theory, women
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This trope reduces a woman down to the biological, and degrades the emotional and physically complex aspects of bearing and giving birth to a child. The women often have no say in what happens with the baby or even with their own bodies, becoming little more than an object. In horror films such as
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Additionally, Briefel separates the suffering of gendered monsters in horror films into two types: masochism and menstruation. Masochism is central to the identification of male monsters "who initiate their sadistic rampages with acts of self-mutilation." By contrast, female monsters do not commit
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Women in general have poor representation in the American film industry, but it is women from minorities who are infrequently cast or appropriated for the sake of furthering the plot, including in the case of horror cinema. Horror films as a genre cater to a white, primarily young, male audience.
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The horror film emphasizes the idea of female sexuality being something that needs to be punished or come with negative consequences. It shows that once a woman acts in a sexual way, she will be killed. The American fantasy of women continuously being sexualized is completely taken away in horror
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are the only two genres specifically devoted to the arousal of bodily sensation. They exist solely to horrify and stimulate, not always respectively, and their ability to do so is the sole measure of their success: they 'prove themselves upon our pulses". Exposure to scenes of explicit violence
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from 1980 to 1993 shows that "it takes women twice as long to die as men in these films" and "females are shown in terror for obviously longer periods of time than males". Molitor and Sapolsky's data revealed huge differences between the treatment of men and women which indicate that females are
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In many horror films, the repressive patriarchal form of a monster is either "symbolically castrated, pathetically lacking...or he is overly endowed and potent". The real sexual interest that occurs in horror films comes from the monster. "The monster's power is one of sexual difference from the
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Female virgins are standard tropes of horror films. The genre frequently plays on the idea that threats can arise metaphysically or from inside the body, and virginity fits into this framework being an alleged, intangible construct within a person. Scholars like Tamar Jeffers McDonald argue that
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Linz and Donnerstein state that slasher films single out women for attack. They argue that the female body count in slasher films should be examined in the context of other film genres. Linz and Donnerstein affirm that "across most television and film content females are less often murdered and
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have argued that we live in patriarchal society, where men dictate the rules and women have to abide by them. Clover looks at the notion that men might "elect to betray their sex and identify with screen females." In slasher films, male characters are often killed quickly and easily leaving the
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Mary Ann Doane suggests that a woman can only actively participate in the gaze when it is "simultaneous with her own victimization." The woman's gaze is turned into "masochistic fantasy." As soon as the woman feels as if she has power and tries to act on it, she is punished. In "When The Woman
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Sex in slasher films is broken down into the following behaviors: flirting, kissing, petting, exposed breasts or genitalia, masturbation, intercourse, or forced sex. In slasher films from 1980 to 1993, studies in Linz and Donnerstiens article have concluded that 33% of occurrences of sex were
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included female characters shown in undergarments, partially or completely nude, or teasing or enticing male characters in a sensual manner. Couples seen kissing, fondling, or involved in sexual intercourse were also coded as acts of sex. According to Molitor and Sapolsky, sexual behavior is
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is the start of monstrosity. Once a girl has reached puberty, she could be seen as filling the role of a monster within popular horror conventions. Horror films feed into the female monstrous identity through the monster's menstruation, since this is a point of contrast from male anatomy and
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Attaching even further onto the fear of women's bodies, there are multiple cases of female bodies becoming mere vessel for the monster. A female character is violated and is mystically inseminated, and then endures an excoriating pregnancy or an almost nonexistent one, passing without any
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There is not "much difference between an object of desire and an object of horror as far as the male look is concerned." Williams is stating that it isn't an expression of sexual desire that is formed between the monster and the girl but instead "a flash of sympathetic identification."
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thought because it is utterly interwoven in the fabric of the horror genre". She further opines that the latter film showed how "As women's power increases, the Freudian paradigm on which most slasher films are based, and, consequently, their villains, degenerates." The character of
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Aviva Briefel believes that pain is central to the audiences understanding of horror films. It is "the monster's pain that determines audience positioning in the horror film." "By gendering the monster's pain, the horror genre prevents the audience from losing control of its own."
1559:, as these films showed the "killer as feminine male and the main character as masculine female" and an othering in horror, which she felt may have been a product of the time period's "massive gender confusion". Dr. Julie Tharp expanded on this in 1991, writing that movies such as
1209:", the film industry had trouble distinguishing between the characters of "torturer, victim, villain, and hero." Writers and directors of horror films had difficulty allowing their torturers and villains to survive after doing such heinous acts. Mashia Wester sees films such as
1681:(1968), Rosemary can be often seen being told what to feel about her pregnancy by her husband and others in the apartment complex. She does not seem to be given an opportunity to make decisions on the subject of her baby, even after it is revealed to be the spawn of
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The final girl is the "first character to sense something amiss and the only one to deduce from the accumulating evidence the pattern and extent of threat; the only one, in other words, whose perspective approaches our own privileged understanding of the situation."
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The study also reported that the number of violent acts against males increased across the 1980s, but tended to decrease for females. Apparently, the producers were criticized for the depiction of women as victims in slasher films, so they toned down such attacks.
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males is common and the use of these characters in both horror and non-genre cinema are frequently used to elicit a strong reaction from the audience. Transgender narratives, according to Zachary Price, has the potential to "bring to horror cinema a way to rethink
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Men only stay on the screen long enough to show their incompetence, unless they are seen to be a true form of patriarchy. The repressive patriarch is often dressed as a female and because he does not exemplify patriarchy at its finest, the final girl is his
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virginity is used as a "bridge" between ambiguity and reality to make sense of mysticism through ordinary means. Virgins are commonly depicted as "plucky heroines and sacrificial offerings, repressed psychos, and misunderstood monsters" as McDonald says.
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normal male. In this difference he is remarkably like the woman in the eyes of the traumatized male: a biological freak with impossible and threatening appetites that suggest a frightening potency precisely where the normal male would perceive a lack."
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scenes". Although there are more male slasher film victims than female ones, a study of slasher films from the 1990s found that women were shown in fear for more time than men and that there were relatively more female victims compared to
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largely appear on screen for men's erotic pleasure. At significantly higher rates, female characters are at least to some degree physically exposed and it is in these scenes that they are simultaneously more likely to being assaulted.
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The final girl is one of the most commonly seen tropes in slasher films. The final girl is always female, usually a virgin, and according to Carol J. Clover, who coined the term, is the lone survivor of the slasher villain.
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Kathleen Kendall argues, however, that it is important to remember that horror films do have a female audience. Additionally, Clover recognizes how groups of adolescent girls made up a proportion of horror movie goers.
1569:"more directly comment on the gender problematics at work in the genre" as they exaggerated these components and showed how feminine male characters "must include a grappling with the sex and gender problematics of
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The audience first identifies with the monster until there is a shift in point-of-view camera narration, and allows identification with the final girl once the monster is after her. The audience relates only with
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connected to violence (male or female), 14% of all sex incidents were linked to the death of a female, and a slasher killed 22% of all "innocent" female protagonists during or following a sexual display or act.
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as depicting "average Americans both as tortured victim and torturing hero." The heroes within these torture films do not actively torture, but contribute to their own and others' suffering.
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brutalized than males by a very large margin." The study tested this assertion compared with the genre selected for analysis, which is popular action/adventure films containing violence.
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films makes the questioning of gendered dominance "both elusive and inescapable in the face of capitalism since, within such a system, we are all commodifiable and consuming bodies."
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Horror films use the female body as a form of an object. Aviva Briefel states in her article, "Monster Pains: Masochism, Menstruation, and Identification in the Horror Film," that
1461:(1991). All these horror films show examples of masochistic monsters that take pleasure in the pain they inflict on themselves; it is something they must endure to be monstrous.
1792:, "the vast majority of those films use race as a marker of monstrosity in ways generically consistent with the larger social body's assumptions about white superiority".
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is not about liberation from sexual repression, but about the failure of repression to contain the monstrous feminine". Audiences are not supposed to identify with
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actions, which they may hide from the protagonist and other characters. The treatment of transgender persons in horror can be identified through the fear of the "
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The term and genre have received criticism, particularly in regard to claims that psycho-biddy films exploit actresses who have experienced or are vulnerable to
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There are few depictions of trans-masculine characters in either horror or non-genre films. Films that do feature trans-masculine characters include Warren in
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If a person watched all of the slasher films included in the Molitor and Sapolsky study, they would have seen sex and violence paired approximately 92 times.
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genres. It has also been referred to as Grande Dame Guignol, hagsploitation, and hag horror. Per Peter Shelley, the subgenre combines the concepts of the
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The chase often consists of a sexualized and degraded woman running for her life as an assailant hunts her down and kills her, unless she is termed the "
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is purposely portrayed in this manner because the character Carrie White demonstrates what happens when women gain power and are no longer repressed.
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genre reflects contemporary modern western society. The methods of torture in these films are adapted from the discussion of terrorism. During the "
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1077:". Films in this genre conventionally feature a formerly glamorous older woman who has become mentally unbalanced and terrorizes those around her.
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The "masochistic monster" revels in acts of self-mutilation before the audience sees the harming of others being done. Briefel looks at films like
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Films in this vein continued to be released through the mid-1970s and per Fisiak, have had an influence on multiple areas including music videos.
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to not only indicate how unattractive the female characters are in these types of films, but to also show that these characters are psychotic."
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3471:"On the Perils of Living Dangerously in the Slasher Horror Film: Gender Differences in the Association Between Sexual Activity and Survival"
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Kilker, Robert (2006). "All Roads Lead To The Abject: The Monstrous Feminine And Gender Boundaries In Stanley Kubrick's "The Shining".
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Slasher films can include "scenes of explicit violence primarily directed toward women, often occurring during or juxtaposed to mildly
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and threatening vectors of gender ideology, trans men in horror are commonly depicted as simultaneously pitiable and frightening".
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increased their acceptance of beliefs that some violence against women is justified and that it may have positive consequences".
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physiology, making it uniquely feminine. Motherhood and menstruation become things which society is taught to find disgusting.
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society does not accept it. Only "male domination is natural and follows inevitable from evolutionary...or social pressures".
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Foster, Gwendolyn (Summer 1995). "Men, Women, and Chain Saws: Gender in the Modern Horror Film by Carol J. Clover (review)".
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Sapolsky, Burry S.; Molitor, Fred; Luque, Sarah (2003). "Sex and Violence in Slasher Films: Re-examining the Assumptions".
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representation in horror comes from characters who either self identify as transgender or are coded as transgender through
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considered leading lady material" or had "previously specialized in supporting roles", and "had not worked for some time".
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2878:"Who is Going to Save the Final Girl?: The Politics of Representation in the Films Halloween and The Silence of the Lambs"
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Rieser, Klaus (April 1, 2001). "Masculinity and Monstrosity: Characterization and Identification in the Slasher Film".
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Huddleston, Jason (2005). "Unmasking The Monster: Hiding And Revealing Male Sexuality In John Carpenter's Halloween".
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repercussion. The child is then either a monster that must be killed, or is taken away from the character presently.
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Clover concludes that the final girl is "an agreed upon fiction male-viewers' use of her as a vehicle for his own
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1611:(1982). Edwin Harris of Gayly Dreadful, describes trans-masculine characters by writing "victims of internalized
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with knife raised high, ready to plunge it into the unsuspecting body of a victim", as depicted in films such as
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whilst she becomes the monster, instead they are supposed to be scared of her ability and destructive potential.
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bath and applying lipstick with sensuous strokes to the accompaniment of Dan's and the camera's admiring gaze."
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depict graphically detailed violence, contain erotically or sexually charged situations which verge on becoming
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3926:"(Why) Do You Like Scary Movies? A Review of the Empirical Research on Psychological Responses to Horror Films"
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The genre is considered by scholars such as Shelley and Tomasz Fisiak to have been launched with the 1962 film
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Cowan, Glora; O'Brien, Margaret (1990). "Gender and Survival vs. Death in Slasher Films: A Content Analysis".
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The combination of sex and violence is shown to grab viewers' attention, making it a more "depthful" process.
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Linz, Daniel; Donnerstein, Edward (1994). "Dialogue: Sex and Violence in Slasher Films: A Reinterpretation".
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Wester, Maisha (2012). "Torture Porn And Uneasy Feminisms: Re-Thinking (Wo)Men In Eli Roth's Hostel Films".
2544:; Penrod, S. (1988). "Effects of long-term exposure to violent and sexually degrading depictions of women".
1804:" these films trap entire minorities in set cinematic roles while also supporting erasure of their culture.
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are a subgenre of horror films featuring acts of violence portrayed in graphic detail. In his book entitled
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2988:"Fear and the Cisgender Audience: Transgender Representation and Audience Identification in Sleepaway Camp"
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King, Neal (2005). "Boy Jokes: Content Analysis Of Hollywood Misogyny In Mean Girl And Slasher Movies".
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2081:"Fear and Loathing at the Cineplex: Gender Differences in Descriptions and Perceptions of Slasher Films"
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that states a Knowledge (XXG) editor's personal feelings or presents an original argument about a topic.
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Molitor, Fred; Sapolsky, Barry S. (Spring 1993). "Sex, Violence, and Victimization in Slasher Films".
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Weaver, James B. III (1991). "Are 'Slasher' Horror Films Sexually Violent? A Content Analysis".
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This third type of sex and violence combination occurred to a lesser extent than the other two.
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2805:
2786:
2734:
2631:
2563:
2436:
2381:
2349:
2314:
2135:
1789:
1514:
1490:(1960) was a prominent example of a character who kept his murderous female identity a secret.
1123:
789:
668:
2611:
1548:
concepts of the gaze that structure our affective responses to seeing bodies cut on-screen."
4578:
4192:
4059:
3955:
3937:
3899:
3858:
3826:
3777:
3682:
3482:
3408:
3360:
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3112:
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2592:
2555:
2462:
2304:
2296:
2093:
2080:
2079:
2054:
2016:
1972:
1830:
924:
92:
1578:
exploits cisnormative societies' fear of gender outside the binary, while the character of
4257:
4138:
2844:
1719:
1587:
1552:
1312:
1217:
869:
673:
4700:
3671:(Winter 2000). "Blaxploitation Horror Films: Generic Reappropriation or Reinscription?".
1273:
1181:
is generally thought of to be the cornerstone work of studying gender in slasher films.
1066:
2804:
Lindsey, Shelley Stamp (1996). "Horror, Femininity, and Carrie's Monstrous Puberty". In
2766:
2288:
4652:
4563:
4491:
3960:
3925:
3903:
3747:"Black (Fear) On Both Sides: Thinking About Candyman, Blacula and Race in Horror Films"
3673:
3668:
1849:
1531:
1498:
1394:
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914:
849:
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3002:
2687:
2643:
2326:
2105:
1984:
1801:
1723:
1570:
1398:
1370:
1351:
world, and if they fail to successfully integrate then this is what will come of it.
1206:
1202:
1114:
1074:
1062:
1044:
1009:
951:
879:
854:
839:
834:
819:
782:
678:
3573:
3388:(Grant, Barry Keith ed.). Austin, Texas: Univ. of Texas Press. pp. 66β113.
2289:"Stranger Than Fiction: Gothic Intertextuality in Shakespears Sister's Music Videos"
1477:
4768:
4732:
4720:
4486:
4174:
4123:
4118:
3412:
3078:"Psycho, The Danish Girl, and Disclosure : Transgender Representation in Film"
1933:
1825:
1813:
1740:
1715:
1579:
1510:
1481:
1336:
1290:
1223:
1172:
1164:
1143:
1087:
1020:
889:
874:
864:
770:
17:
3182:
3167:"The Transvestite as MonsterGender Horror in The Silence of the Lambs and Psycho"
3139:
2907:
2129:
1102:, referred to the genre as "the Terrifying Older Actress Filicidal Mummy genre."
4763:
4695:
4573:
4530:
4272:
4148:
4143:
4069:
4049:
4025:
3533:
3518:"Who Are You Afraid Of?: Young Women as Consumers and Producers of Horror Films"
3245:
3166:
2131:
Grande Dame Guignol Cinema: A History of Hag Horror from "Baby Jane" to "Mother"
1902:
1898:
1843:
1695:
1625:
1556:
1494:
1348:
1211:
1190:
1070:
1058:
1040:
1016:
929:
894:
844:
829:
683:
106:
3551:(1. Princeton paperback print ed.). Princeton, NJ: Princeton Univ. Press.
3470:
2767:"Monster Pains: Masochism, Menstruation, and Identification in the Horror Film"
2627:
2559:
1976:
4715:
4662:
4568:
4498:
4481:
4039:
3830:
3486:
3346:
2679:
2596:
2407:
2097:
1699:
1685:. She remains the vessel for others to take advantage of throughout the film.
1659:
1637:
1555:
noted that during the 1980s there was a shifting and loosening of traditional
1445:
1425:
1360:
1252:
The treatment of women in horror films can be associated with the fear of the
919:
824:
794:
765:
3951:
3942:
3517:
3494:
3190:
3124:
2927:
2790:
2635:
2353:
2318:
2300:
1931:
Bass, Alison (March 19, 1988). "Do Slasher Films Breed Real-Life Violence?".
4758:
3612:
3209:
Gayly Dreadful -- Bursting out of your closet with the latest horror reviews
3100:
2782:
1595:
1536:
1535:. Also per Miller, the depiction of transgender people in overall cinema by
1253:
1185:
946:
3969:
3116:
2567:
3686:
3608:"Sorry, Ladies: Study on Women in Film and Television Confirms The Worst"
1612:
1545:
1541:
1402:
1230:
1157:
1551:
In the article "Her Body, Himself: Gender in the Slasher Film", scholar
115:
4553:
3862:
3694:
2309:
2028:
2004:
1324:
2211:"A primer for the unexpectedly awesome hagsploitation horror subgenre"
4249:
1110:
709:
2134:. Jefferson, North Carolina and London: McFarland and Company, Inc.
2020:
1347:
could portray the message to its audience that they must live in a
4100:
2527:
R Going to Pieces: The Rise and Fall of the Slasher Film 1978-1986
1842:
1682:
1663:
1647:
1476:
1393:
1268:
1147:
1035:
4609:
3781:. Virginia Beach, Virginia: Black Girl Nerds, LLC. Archived from
3721:"Indigenous Cinema and the Horrific Reality of Colonial Violence"
2612:"Sex and Violence in Slasher Films: Re-examining the Assumptions"
1169:
Going to Pieces: The Rise and Fall of the Slasher Film, 1978-1986
2909:
Virgin territory : representing sexual inexperience in film
1736:
4613:
3998:
1057:
Psycho-biddy is a film subgenre which combines elements of the
3994:
2610:
Sapolsky, Burry S.; Molitor, Fred; Luque, Sarah (March 2003).
28:
3643:"This Essay Was Not Built On an Ancient Indian Burial Ground"
3101:"Skin gazing: Queer bodies in AlmodΓ³var's The Skin I Live In"
2812:. Austin, Texas: University of Texas Press. pp. 279β95.
1509:", as the characters can be portrayed as the opposite of the
2458:"'Feud' Depicts "Hagsploitation" In All Its Offensive Glory"
2377:
In Our Prime: How Older Women Are Reinventing the Road Ahead
3549:
Men, women and chain saws: gender in the modern horror film
2849:
Men, Women and Chain Saws: Gender in the Modern Horror Film
1853:(1971) in which a couple having sex is impaled with a spear
1178:
Men, Women, and Chainsaws: Gender in the Modern Horror Film
46:
personal reflection, personal essay, or argumentative essay
3987:. Mahwah, NJ: Lawrence Erlbaum Associates. pp. 85β88.
3773:"Will It Get Better For Black People In the Horror Genre?"
1201:
Some critics suggest that the torture represented in the
2293:
Text Matters: A Journal of Literature, Theory and Culture
1812:
Evidence produced from the Molitor and Sapolsky study on
3300:. In Anderson, Margaret; Hill Collins, Patricia (eds.).
2403:"Hagsploitation: Horror's Repulsion Of The Ageing Woman"
91:
Multiple horror film stars' face molds displayed at The
3636:
3634:
1261:
disgusts us, yet comes from us or from which we come."
52:
3386:
In The Dread of Difference: Gender and the Horror Film
2429:
Shary, Timothy; McVittie, Nancy (September 6, 2016).
3725:
Decolonization: Indigeneity, Education & Society
1586:
stokes fear of an emasculated man suffering with an
4731:
4681:
4645:
4546:
4459:
4407:
4326:
4286:
4164:
4032:
3025:"Blood, Bodies and Binaries: Trans Women in Horror"
2810:
The Dread of Difference: Gender and the Horror Film
3985:Gender-socialization theory of reactions to horrow
3885:
3205:"[Pride 2021] Transmasculinity in Horror"
1117:and Nancy McVittie noted the genre in their book
3714:
3712:
3446:Film Theory and Criticism: Introductory Readings
1012:, has been the subject of critical commentary.
1824:Gloria Cowan conducted a study on 57 different
3819:Journal of Broadcasting & Electronic Media
3335:Journal of Broadcasting & Electronic Media
2584:Journal of Broadcasting & Electronic Media
4625:
4010:
2616:Journalism & Mass Communication Quarterly
2435:. University of Texas Press. pp. 80β86.
1965:Journalism & Mass Communication Quarterly
1662:portrays a young woman who is impregnated by
985:
8:
3448:. Oxford University Press. pp. 833β44.
2547:Journal of Personality and Social Psychology
2486:"Trog: The strangest horror film of its era"
2185:"Menopausal Maniacs: A Hag Horror Watchlist"
1897:Carol J. Clover argues in her article that "
3365:"The Mystical Pregnancy (Tropes vs. Women)"
2943:
2941:
2939:
2937:
2760:
2758:
2756:
2754:
2752:
2750:
4632:
4618:
4610:
4323:
4017:
4003:
3995:
3887:"Patriarchal Politics in Fatal Attraction"
3444:. In Braudy, Leo; Cohen, Marshall (eds.).
2876:Albuquerque De Boer, Raphael (July 2014).
2839:
2837:
2835:
2833:
2831:
2829:
2005:"Her Body, Himself: Gender in the Slasher"
1958:
1956:
1954:
1952:
1950:
1948:
1946:
1944:
992:
978:
97:
3959:
3941:
3432:
3430:
3267:Kimmel, Michael S.; Aronson, Amy (2008).
2981:
2979:
2912:. Detroit: Wayne State University Press.
2699:
2697:
2659:
2657:
2655:
2653:
2308:
2047:
2045:
2043:
2041:
2039:
1015:Critics and researchers have argued that
75:Learn how and when to remove this message
3844:
3842:
3840:
3049:Bell-Metereau, Rebecca (March 1, 2019).
2078:Nolan, Justin M.; Ryan, Gery W. (2000).
1998:
1996:
1994:
1155:in a murder scene from the 1975 slasher
86:
3812:
3810:
3808:
3806:
3804:
3802:
3800:
3745:Blackwell, Ashlee (February 10, 2015).
2726:Powers of Horror: An Essay on Abjection
2183:Thompson, Rocco T. (February 1, 2018).
2157:"10 Grand Hagsploitation Horror Movies"
1923:
741:
630:
140:
100:
3439:"Visual Pleasure and Narrative Cinema"
3171:Journal of Popular Film and Television
2432:Fade to Gray: Aging in American Cinema
1471:Media portrayals of transgender people
1119:Fade to Gray: Aging in American Cinema
3606:Cipriani, Casey (February 10, 2015).
3302:Race, Class, and Gender: An Anthology
2906:McDonald, Tamar Jeffers, ed. (2010).
2456:Gallagher, Caitlin (April 10, 2017).
2128:Shelley, Peter (September 15, 2009).
2123:
2121:
2119:
2117:
2115:
2073:
2071:
2069:
1265:Women and the female body as monsters
7:
3924:Martin, G. Neil (October 18, 2019).
3298:"White Privilege and Male Privilege"
2667:Quarterly Review of Film & Video
2374:Douglas, Susan J. (March 10, 2020).
2209:Pahle, Rebecca (November 13, 2019).
2962:(1st ed.). London: Routledge.
2529:. NC: McFarland & Company, Inc.
2484:Hobbs, Thomas (November 17, 2020).
3904:10.1111/j.0022-3840.1992.2603_25.x
3771:Complex, Valerie (July 31, 2015).
3719:Smith, Arial (February 13, 2015).
3649:. Melbourne, Australia: Kai Branch
3099:Price, Zachary (October 1, 2015).
2155:Swanson, Anna (October 21, 2019).
1458:Freddy's Dead: The Final Nightmare
25:
3983:Zillmann, D.; Weaver, J. (1996).
3913:– via Wiley Online Library.
3023:Holtz, Jenni (January 18, 2019).
3008:on November 24, 2020 – via
2885:RepositΓ³rio Institucional da UFSC
2401:Walker, Billie (March 28, 2022).
1465:Transgender roles in horror films
4592:
4591:
2340:Adler, Renata (March 21, 1968).
1083:What Ever Happened to Baby Jane?
1050:What Ever Happened to Baby Jane?
959:
958:
945:
114:
33:
3469:Welsh, Andrew (March 2, 2010).
2261:Brunson, Matt (March 6, 2019).
2237:"The birth of 'hagsploitation'"
3413:10.1080/23796529.2005.11674626
3138:Phillips, J. (July 10, 2006).
2380:. W. W. Norton & Company.
1331:Shelley Stamp Lindsey states "
1:
4812:LGBT portrayals in mass media
3574:"Misrecognition and Identity"
3304:. San Francisco, California:
3271:(3 ed.). New York City:
3183:10.1080/01956051.1991.9944116
3165:Tharp, Julie (July 1, 1991).
2765:Briefel, Aviva (March 2005).
1008:, particularly depictions of
4447:Set in academic institutions
3641:Smith, Arial (August 2014).
3306:Wadsworth Publishing Company
3082:Culture, Society, and Praxis
3055:. Rutgers University Press.
2958:. In Jancovich, Mark (ed.).
1248:Female roles in horror films
3616:. Los Angeles, California:
3269:The Gendered Society Reader
3246:10.1177/1097184X01003004002
4828:
4519:Indian burial ground trope
3892:Journal of Popular Culture
3516:Kendall, Kathleen (2002).
3401:Journal of Visual Literacy
3001:(2): 40β47. Archived from
2853:Princeton University Press
2628:10.1177/107769900308000103
2560:10.1037/0022-3514.55.5.758
1977:10.1177/107769900308000103
1808:Portrayal of women vs. men
1780:
1468:
1390:Male roles in horror films
1358:
1141:
4587:
3884:Babener, Liahana (1992).
3831:10.1080/08838159409364261
3547:Clover, Carol J. (1993).
3487:10.1007/s11199-010-9762-x
3384:Clover, Carol J. (1996).
3347:10.1080/08838159309364218
3076:Quinowski, Grace (2022).
2851:. Princeton, New Jersey:
2731:Columbia University Press
2706:Literature Film Quarterly
2680:10.1080/10509201003719258
2597:10.1080/08838159109364133
2033:Retrieved April 12, 2012.
2003:Clover, Carol J. (1987).
1599:(1961), George Atwood in
1452:A Nightmare on Elm Street
1401:(right) as the monstrous
1096:review for the 1968 film
3943:10.3389/fpsyg.2019.02298
3618:Penske Media Corporation
3572:Doane, Mary Ann (1980).
3296:McIntosh, Peggy (1998).
2723:Kristeva, Julia (1980).
2301:10.18778/2083-2931.10.12
1839:Sex paired with violence
1566:The Silence of the Lambs
1405:in the 1931 horror film
3930:Frontiers in Psychology
3273:Oxford University Press
2960:Horror, The Film Reader
2783:10.1525/fq.2005.58.3.16
2287:Fisiak, Tomasz (2020).
2098:10.1023/A:1007080110663
1434:Dr. Jekyll and Mr. Hyde
1408:Dr. Jekyll and Mr. Hyde
4673:Manic Pixie Dream Girl
3437:Mulvey, Laura (1999).
3117:10.1386/host.6.2.305_3
2953:"When the Woman Looks"
1854:
1783:Racism in horror films
1667:
1605:(1972), and Barney in
1576:Jame Gumb/Buffalo Bill
1491:
1411:
1286:
1193:from the same period.
1161:
1054:
1006:gender in horror films
1004:The representation of
95:
55:by rewriting it in an
4797:Gender in horror film
4301:First film by country
3536:– via ProQuest.
3233:Men and Masculinities
3141:Transgender On Screen
2986:Miller, Lucy (2017).
1846:
1651:
1480:
1469:Further information:
1397:
1283:The Brides of Dracula
1272:
1233:, the creator of the
1151:
1039:
90:
3785:on December 19, 2017
3687:10.1353/cj.2000.0001
1847:A murder scene from
1798:Indian burial ground
1777:Race in horror films
1739:," a term coined by
1503:gender nonconforming
1415:Repressive patriarch
704:New French Extremity
2525:Rockoff, A (2002).
2342:"Miss Davis's 78th"
2162:Film School Rejects
102:Part of a series on
18:Grande Dame Guignol
4807:Film controversies
4776:Literary criticism
3863:10.1007/BF00289865
3669:Benshoff, Harry M.
3481:(11β12): 762β773.
3370:Feminist Frequency
3052:Transgender Cinema
3010:USC Cinematic Arts
2806:Grant, Barry Keith
2346:The New York Times
2263:"The crying shame"
1889:Effects on viewers
1855:
1668:
1644:Mystical pregnancy
1492:
1412:
1287:
1162:
1055:
96:
57:encyclopedic style
44:is written like a
4784:
4783:
4752:Johanson analysis
4706:Female buddy film
4668:Celluloid ceiling
4607:
4606:
4559:Exploitation film
4455:
4454:
4109:Postmodern horror
3558:978-0-691-00620-8
3363:(July 28, 2011).
3361:Sarkeesian, Anita
3151:978-0-230-59633-7
3062:978-0-8135-9735-5
2969:978-0-20-320484-9
2919:978-0-8143-3695-3
2729:. New York City:
2512:Conference Papers
2442:978-1-4773-1063-2
2387:978-0-393-65256-7
2235:Keegan, Rebecca.
1876:Changing patterns
1790:Harry M. Benshoff
1714:Scholars such as
1515:transgender woman
1002:
1001:
85:
84:
77:
16:(Redirected from
4819:
4634:
4627:
4620:
4611:
4595:
4594:
4579:Vulgar auteurism
4324:
4296:Highest-grossing
4019:
4012:
4005:
3996:
3989:
3988:
3980:
3974:
3973:
3963:
3945:
3921:
3915:
3914:
3912:
3910:
3889:
3881:
3875:
3874:
3857:(3β4): 187β196.
3846:
3835:
3834:
3814:
3795:
3794:
3792:
3790:
3778:Black Girl Nerds
3768:
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3742:
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3029:14 East Magazine
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2897:
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2882:
2873:
2867:
2866:
2845:Clover, Carol J.
2841:
2824:
2823:
2801:
2795:
2794:
2762:
2745:
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2714:
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2173:
2171:
2169:
2152:
2146:
2145:
2125:
2110:
2109:
2083:
2075:
2064:
2063:
2055:Prairie Schooner
2049:
2034:
2032:
2000:
1989:
1988:
1960:
1939:
1938:
1928:
1831:Fatal Attraction
994:
987:
980:
967:
962:
961:
954:
950:
949:
925:Vulgar auteurism
118:
98:
93:Hollywood Museum
80:
73:
69:
66:
60:
37:
36:
29:
21:
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4282:
4160:
4139:Social thriller
4028:
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3331:
3327:
3320:
3295:
3294:
3290:
3283:
3266:
3265:
3261:
3229:
3228:
3224:
3214:
3212:
3203:
3202:
3198:
3164:
3163:
3159:
3152:
3137:
3136:
3132:
3098:
3097:
3093:
3075:
3074:
3070:
3063:
3048:
3047:
3043:
3033:
3031:
3022:
3021:
3017:
3005:
2990:
2985:
2984:
2977:
2970:
2955:
2949:Williams, Linda
2947:
2946:
2935:
2920:
2905:
2904:
2900:
2890:
2888:
2880:
2875:
2874:
2870:
2863:
2843:
2842:
2827:
2820:
2803:
2802:
2798:
2764:
2763:
2748:
2741:
2722:
2721:
2717:
2703:
2702:
2695:
2663:
2662:
2651:
2609:
2608:
2604:
2580:
2579:
2575:
2542:Donnerstein, E.
2539:
2538:
2534:
2524:
2523:
2519:
2509:
2508:
2504:
2494:
2492:
2483:
2482:
2478:
2468:
2466:
2455:
2454:
2450:
2443:
2428:
2427:
2423:
2413:
2411:
2400:
2399:
2395:
2388:
2373:
2372:
2368:
2358:
2356:
2339:
2338:
2334:
2295:(10): 194β208.
2286:
2285:
2281:
2271:
2269:
2260:
2259:
2255:
2245:
2243:
2241:Chicago Tribune
2234:
2233:
2229:
2219:
2217:
2208:
2207:
2203:
2193:
2191:
2182:
2181:
2177:
2167:
2165:
2154:
2153:
2149:
2142:
2127:
2126:
2113:
2077:
2076:
2067:
2051:
2050:
2037:
2021:10.2307/2928507
2015:(20): 187β228.
2009:Representations
2002:
2001:
1992:
1962:
1961:
1942:
1930:
1929:
1925:
1920:
1891:
1878:
1863:Sexual behavior
1841:
1810:
1785:
1779:
1766:
1750:
1733:
1712:
1691:
1678:Rosemary's Baby
1655:Rosemary's Baby
1646:
1634:
1621:
1588:Oedipus complex
1561:Dressed to Kill
1553:Carol J. Clover
1526:Dressed to Kill
1473:
1467:
1417:
1392:
1383:
1371:sadomasochistic
1363:
1357:
1267:
1250:
1199:
1146:
1140:
1099:The Anniversary
1034:
1029:
998:
957:
944:
943:
936:
935:
934:
909:
901:
900:
899:
870:Social thriller
814:
806:
805:
804:
750:
737:
736:
735:
698:
690:
689:
688:
641:
626:
625:
591:
581:
580:
526:
516:
515:
461:
451:
450:
396:
386:
385:
331:
321:
320:
266:
256:
255:
201:
191:
190:
151:
136:
109:
104:
81:
70:
64:
61:
53:help improve it
50:
38:
34:
23:
22:
15:
12:
11:
5:
4825:
4823:
4815:
4814:
4809:
4804:
4799:
4789:
4788:
4782:
4781:
4779:
4778:
4773:
4772:
4771:
4766:
4761:
4754:
4749:
4744:
4738:
4736:
4729:
4728:
4726:
4725:
4724:
4723:
4718:
4708:
4703:
4698:
4693:
4691:Women's cinema
4687:
4685:
4679:
4678:
4676:
4675:
4670:
4665:
4660:
4655:
4653:Hawksian woman
4649:
4647:
4643:
4642:
4640:Women in media
4639:
4637:
4636:
4629:
4622:
4614:
4605:
4604:
4602:
4601:
4588:
4585:
4584:
4582:
4581:
4576:
4571:
4566:
4564:Extreme cinema
4561:
4556:
4550:
4548:
4544:
4543:
4541:
4540:
4539:
4538:
4533:
4523:
4522:
4521:
4511:
4506:
4501:
4496:
4495:
4494:
4492:archaic mother
4489:
4484:
4474:
4469:
4463:
4461:
4457:
4456:
4453:
4452:
4450:
4449:
4444:
4439:
4434:
4429:
4428:
4427:
4417:
4411:
4409:
4405:
4404:
4402:
4401:
4396:
4391:
4386:
4381:
4376:
4371:
4366:
4361:
4356:
4351:
4346:
4341:
4336:
4330:
4328:
4321:
4320:
4319:
4318:
4313:
4303:
4298:
4292:
4290:
4284:
4283:
4281:
4280:
4278:United Kingdom
4275:
4270:
4265:
4260:
4255:
4254:
4253:
4243:
4238:
4237:
4236:
4231:
4223:
4222:
4221:
4216:
4208:
4207:
4206:
4198:
4197:
4196:
4184:
4179:
4178:
4177:
4168:
4166:
4162:
4161:
4159:
4158:
4157:
4156:
4146:
4141:
4136:
4131:
4126:
4121:
4116:
4111:
4106:
4105:
4104:
4092:
4087:
4082:
4080:Gothic romance
4077:
4072:
4067:
4062:
4057:
4052:
4047:
4045:Blaxploitation
4042:
4036:
4034:
4030:
4029:
4024:
4022:
4021:
4014:
4007:
3999:
3991:
3990:
3975:
3916:
3876:
3836:
3825:(2): 243β246.
3796:
3763:
3751:comingsoon.net
3737:
3708:
3674:Cinema Journal
3660:
3630:
3598:
3564:
3557:
3539:
3508:
3461:
3455:978-0195365627
3454:
3426:
3407:(2): 219β236.
3391:
3376:
3352:
3325:
3319:978-0534528799
3318:
3288:
3282:978-0199927494
3281:
3259:
3222:
3211:. June 8, 2021
3196:
3177:(3): 106β113.
3157:
3150:
3130:
3111:(2): 305β317.
3105:Horror Studies
3091:
3068:
3061:
3041:
3015:
2975:
2968:
2933:
2918:
2898:
2868:
2862:978-0691166292
2861:
2825:
2819:978-0292772458
2818:
2796:
2771:Film Quarterly
2746:
2740:978-0231053471
2739:
2715:
2693:
2674:(5): 387β400.
2649:
2602:
2591:(3): 385β392.
2573:
2554:(1): 758β768.
2532:
2517:
2502:
2476:
2448:
2441:
2421:
2393:
2386:
2366:
2332:
2279:
2253:
2227:
2201:
2175:
2147:
2141:978-0786445691
2140:
2111:
2065:
2035:
1990:
1940:
1922:
1921:
1919:
1916:
1890:
1887:
1877:
1874:
1850:A Bay of Blood
1840:
1837:
1809:
1806:
1802:Mythical Negro
1778:
1775:
1765:
1762:
1753:Linda Williams
1749:
1746:
1732:
1729:
1711:
1708:
1690:
1687:
1645:
1642:
1633:
1630:
1620:
1617:
1608:Girls Nite Out
1532:Sleepaway Camp
1499:cross-dressing
1466:
1463:
1416:
1413:
1391:
1388:
1382:
1379:
1359:Main article:
1356:
1353:
1278:Marie Devereux
1266:
1263:
1258:Julia Kristeva
1249:
1246:
1203:torture horror
1198:
1195:
1142:Main article:
1139:
1136:
1093:New York Times
1033:
1030:
1028:
1025:
1000:
999:
997:
996:
989:
982:
974:
971:
970:
969:
968:
955:
938:
937:
933:
932:
927:
922:
917:
915:Extreme cinema
911:
910:
907:
906:
903:
902:
898:
897:
892:
887:
882:
877:
872:
867:
862:
857:
852:
847:
842:
837:
832:
827:
822:
816:
815:
812:
811:
808:
807:
803:
802:
797:
792:
787:
786:
785:
775:
774:
773:
768:
758:
752:
751:
748:
747:
744:
743:
739:
738:
734:
733:
728:
727:
726:
721:
713:
706:
700:
699:
696:
695:
692:
691:
687:
686:
681:
676:
671:
666:
665:
664:
659:
654:
643:
642:
639:
638:
635:
634:
628:
627:
624:
623:
618:
613:
608:
603:
598:
592:
587:
586:
583:
582:
579:
578:
573:
568:
563:
558:
553:
548:
543:
538:
533:
527:
522:
521:
518:
517:
514:
513:
508:
503:
498:
493:
488:
483:
478:
473:
468:
462:
457:
456:
453:
452:
449:
448:
443:
438:
433:
428:
423:
418:
413:
408:
403:
397:
392:
391:
388:
387:
384:
383:
378:
373:
368:
363:
358:
353:
348:
343:
338:
332:
327:
326:
323:
322:
319:
318:
313:
308:
303:
298:
293:
288:
283:
278:
273:
267:
262:
261:
258:
257:
254:
253:
248:
243:
238:
233:
228:
223:
218:
213:
208:
202:
197:
196:
193:
192:
189:
188:
183:
178:
173:
168:
163:
158:
152:
149:
148:
145:
144:
138:
137:
135:
134:
129:
123:
120:
119:
111:
110:
105:
83:
82:
41:
39:
32:
24:
14:
13:
10:
9:
6:
4:
3:
2:
4824:
4813:
4810:
4808:
4805:
4803:
4802:Women in film
4800:
4798:
4795:
4794:
4792:
4777:
4774:
4770:
4767:
4765:
4762:
4760:
4757:
4756:
4755:
4753:
4750:
4748:
4745:
4743:
4742:Art criticism
4740:
4739:
4737:
4734:
4730:
4722:
4719:
4717:
4714:
4713:
4712:
4709:
4707:
4704:
4702:
4699:
4697:
4694:
4692:
4689:
4688:
4686:
4684:
4683:Women in film
4680:
4674:
4671:
4669:
4666:
4664:
4661:
4659:
4656:
4654:
4651:
4650:
4648:
4644:
4635:
4630:
4628:
4623:
4621:
4616:
4615:
4612:
4600:
4599:
4590:
4589:
4586:
4580:
4577:
4575:
4572:
4570:
4567:
4565:
4562:
4560:
4557:
4555:
4552:
4551:
4549:
4545:
4537:
4534:
4532:
4529:
4528:
4527:
4524:
4520:
4517:
4516:
4515:
4512:
4510:
4507:
4505:
4502:
4500:
4497:
4493:
4490:
4488:
4485:
4483:
4480:
4479:
4478:
4475:
4473:
4470:
4468:
4465:
4464:
4462:
4458:
4448:
4445:
4443:
4440:
4438:
4435:
4433:
4430:
4426:
4423:
4422:
4421:
4418:
4416:
4413:
4412:
4410:
4406:
4400:
4397:
4395:
4392:
4390:
4387:
4385:
4382:
4380:
4377:
4375:
4372:
4370:
4367:
4365:
4362:
4360:
4357:
4355:
4352:
4350:
4347:
4345:
4342:
4340:
4337:
4335:
4332:
4331:
4329:
4325:
4317:
4314:
4312:
4309:
4308:
4307:
4304:
4302:
4299:
4297:
4294:
4293:
4291:
4289:
4285:
4279:
4276:
4274:
4271:
4269:
4266:
4264:
4261:
4259:
4256:
4252:
4251:
4247:
4246:
4244:
4242:
4239:
4235:
4232:
4230:
4227:
4226:
4224:
4220:
4217:
4215:
4214:Expressionism
4212:
4211:
4209:
4205:
4202:
4201:
4199:
4195:
4194:
4190:
4189:
4188:
4185:
4183:
4180:
4176:
4173:
4172:
4170:
4169:
4167:
4163:
4155:
4152:
4151:
4150:
4147:
4145:
4142:
4140:
4137:
4135:
4132:
4130:
4127:
4125:
4122:
4120:
4117:
4115:
4114:Psychological
4112:
4110:
4107:
4103:
4102:
4098:
4097:
4096:
4093:
4091:
4088:
4086:
4083:
4081:
4078:
4076:
4075:Found footage
4073:
4071:
4068:
4066:
4063:
4061:
4058:
4056:
4053:
4051:
4048:
4046:
4043:
4041:
4038:
4037:
4035:
4031:
4027:
4020:
4015:
4013:
4008:
4006:
4001:
4000:
3997:
3986:
3979:
3976:
3971:
3967:
3962:
3957:
3953:
3949:
3944:
3939:
3935:
3931:
3927:
3920:
3917:
3905:
3901:
3897:
3893:
3888:
3880:
3877:
3872:
3868:
3864:
3860:
3856:
3852:
3845:
3843:
3841:
3837:
3832:
3828:
3824:
3820:
3813:
3811:
3809:
3807:
3805:
3803:
3801:
3797:
3784:
3780:
3779:
3774:
3767:
3764:
3752:
3748:
3741:
3738:
3726:
3722:
3715:
3713:
3709:
3704:
3700:
3696:
3692:
3688:
3684:
3680:
3676:
3675:
3670:
3664:
3661:
3648:
3644:
3637:
3635:
3631:
3619:
3615:
3614:
3609:
3602:
3599:
3586:
3582:
3575:
3568:
3565:
3560:
3554:
3550:
3543:
3540:
3535:
3531:
3527:
3523:
3519:
3512:
3509:
3504:
3500:
3496:
3492:
3488:
3484:
3480:
3476:
3472:
3465:
3462:
3457:
3451:
3447:
3440:
3433:
3431:
3427:
3422:
3418:
3414:
3410:
3406:
3402:
3395:
3392:
3387:
3380:
3377:
3372:
3371:
3366:
3362:
3356:
3353:
3348:
3344:
3341:(2): 233β42.
3340:
3336:
3329:
3326:
3321:
3315:
3311:
3307:
3303:
3299:
3292:
3289:
3284:
3278:
3274:
3270:
3263:
3260:
3255:
3251:
3247:
3243:
3240:(4): 370β92.
3239:
3235:
3234:
3226:
3223:
3210:
3206:
3200:
3197:
3192:
3188:
3184:
3180:
3176:
3172:
3168:
3161:
3158:
3153:
3147:
3143:
3142:
3134:
3131:
3126:
3122:
3118:
3114:
3110:
3106:
3102:
3095:
3092:
3087:
3083:
3079:
3072:
3069:
3064:
3058:
3054:
3053:
3045:
3042:
3030:
3026:
3019:
3016:
3011:
3004:
3000:
2996:
2989:
2982:
2980:
2976:
2971:
2965:
2961:
2954:
2950:
2944:
2942:
2940:
2938:
2934:
2929:
2925:
2921:
2915:
2911:
2910:
2902:
2899:
2891:September 18,
2886:
2879:
2872:
2869:
2864:
2858:
2854:
2850:
2846:
2840:
2838:
2836:
2834:
2832:
2830:
2826:
2821:
2815:
2811:
2807:
2800:
2797:
2792:
2788:
2784:
2780:
2776:
2772:
2768:
2761:
2759:
2757:
2755:
2753:
2751:
2747:
2742:
2736:
2732:
2728:
2727:
2719:
2716:
2711:
2707:
2700:
2698:
2694:
2689:
2685:
2681:
2677:
2673:
2669:
2668:
2660:
2658:
2656:
2654:
2650:
2645:
2641:
2637:
2633:
2629:
2625:
2621:
2617:
2613:
2606:
2603:
2598:
2594:
2590:
2586:
2585:
2577:
2574:
2569:
2565:
2561:
2557:
2553:
2549:
2548:
2543:
2536:
2533:
2528:
2521:
2518:
2513:
2506:
2503:
2491:
2487:
2480:
2477:
2465:
2464:
2459:
2452:
2449:
2444:
2438:
2434:
2433:
2425:
2422:
2410:
2409:
2404:
2397:
2394:
2389:
2383:
2379:
2378:
2370:
2367:
2355:
2351:
2347:
2343:
2336:
2333:
2328:
2324:
2320:
2316:
2311:
2306:
2302:
2298:
2294:
2290:
2283:
2280:
2268:
2264:
2257:
2254:
2242:
2238:
2231:
2228:
2216:
2212:
2205:
2202:
2190:
2186:
2179:
2176:
2164:
2163:
2158:
2151:
2148:
2143:
2137:
2133:
2132:
2124:
2122:
2120:
2118:
2116:
2112:
2107:
2103:
2099:
2095:
2091:
2087:
2082:
2074:
2072:
2070:
2066:
2062:(2): 156β161.
2061:
2057:
2056:
2048:
2046:
2044:
2042:
2040:
2036:
2030:
2026:
2022:
2018:
2014:
2010:
2006:
1999:
1997:
1995:
1991:
1986:
1982:
1978:
1974:
1970:
1966:
1959:
1957:
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1951:
1949:
1947:
1945:
1941:
1936:
1935:
1927:
1924:
1917:
1915:
1911:
1907:
1904:
1900:
1895:
1888:
1886:
1882:
1875:
1873:
1869:
1867:
1864:
1859:
1852:
1851:
1845:
1838:
1836:
1833:
1832:
1827:
1826:slasher films
1822:
1818:
1815:
1814:slasher films
1807:
1805:
1803:
1799:
1793:
1791:
1788:According to
1784:
1776:
1774:
1770:
1763:
1761:
1757:
1754:
1747:
1745:
1742:
1738:
1730:
1728:
1725:
1721:
1717:
1709:
1707:
1703:
1701:
1698:and disdains
1697:
1688:
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1672:
1665:
1661:
1657:
1656:
1650:
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1629:
1627:
1618:
1616:
1614:
1610:
1609:
1604:
1603:
1602:Private Parts
1598:
1597:
1591:
1589:
1585:
1581:
1577:
1572:
1568:
1567:
1562:
1558:
1554:
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1436:
1435:
1429:
1427:
1421:
1414:
1410:
1409:
1404:
1400:
1399:Fredric March
1396:
1389:
1387:
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1374:
1372:
1367:
1362:
1354:
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1243:
1239:
1237:
1232:
1228:
1226:
1225:
1220:
1219:
1214:
1213:
1208:
1207:War on Terror
1204:
1197:Torture films
1196:
1194:
1192:
1187:
1182:
1180:
1179:
1174:
1170:
1166:
1165:Slasher films
1160:
1159:
1154:
1150:
1145:
1137:
1135:
1133:
1129:
1126:
1125:
1120:
1116:
1115:Timothy Shary
1112:
1107:
1103:
1101:
1100:
1095:
1094:
1089:
1085:
1084:
1078:
1076:
1075:Grand Guignol
1072:
1068:
1064:
1060:
1052:
1051:
1046:
1045:Joan Crawford
1042:
1038:
1031:
1026:
1024:
1022:
1018:
1013:
1011:
1007:
995:
990:
988:
983:
981:
976:
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972:
966:
956:
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948:
942:
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939:
931:
928:
926:
923:
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918:
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913:
912:
905:
904:
896:
893:
891:
888:
886:
883:
881:
878:
876:
873:
871:
868:
866:
863:
861:
860:Psychological
858:
856:
853:
851:
848:
846:
843:
841:
838:
836:
833:
831:
828:
826:
823:
821:
818:
817:
810:
809:
801:
798:
796:
793:
791:
788:
784:
783:Analog horror
781:
780:
779:
778:Found footage
776:
772:
769:
767:
764:
763:
762:
759:
757:
754:
753:
746:
745:
740:
732:
729:
725:
722:
720:
719:Expressionism
717:
716:
714:
712:
711:
707:
705:
702:
701:
694:
693:
685:
682:
680:
677:
675:
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94:
89:
79:
76:
68:
58:
54:
48:
47:
42:This article
40:
31:
30:
27:
19:
4769:Bechdel test
4733:Feminist art
4721:Scream queen
4710:
4701:Woman's film
4596:
4487:scream queen
4476:
4248:
4229:ghost movies
4191:
4175:Ozploitation
4134:Supernatural
4099:
4090:Lovecraftian
3984:
3978:
3933:
3929:
3919:
3907:. Retrieved
3898:(3): 25β34.
3895:
3891:
3879:
3854:
3850:
3822:
3818:
3787:. Retrieved
3783:the original
3776:
3766:
3754:. Retrieved
3750:
3740:
3728:. Retrieved
3724:
3681:(2): 31β50.
3678:
3672:
3663:
3651:. Retrieved
3646:
3621:. Retrieved
3611:
3601:
3589:. Retrieved
3584:
3580:
3567:
3548:
3542:
3525:
3521:
3511:
3478:
3474:
3464:
3445:
3404:
3400:
3394:
3385:
3379:
3368:
3355:
3338:
3334:
3328:
3301:
3291:
3268:
3262:
3237:
3231:
3225:
3213:. Retrieved
3208:
3199:
3174:
3170:
3160:
3144:. Springer.
3140:
3133:
3108:
3104:
3094:
3085:
3081:
3071:
3051:
3044:
3032:. Retrieved
3028:
3018:
3003:the original
2998:
2994:
2959:
2908:
2901:
2889:. Retrieved
2884:
2871:
2848:
2809:
2799:
2777:(3): 16β27.
2774:
2770:
2725:
2718:
2709:
2705:
2671:
2665:
2622:(1): 28β38.
2619:
2615:
2605:
2588:
2582:
2576:
2551:
2545:
2540:Linz, D.G.;
2535:
2526:
2520:
2511:
2505:
2493:. Retrieved
2489:
2479:
2467:. Retrieved
2461:
2451:
2431:
2424:
2412:. Retrieved
2406:
2396:
2376:
2369:
2357:. Retrieved
2345:
2335:
2292:
2282:
2270:. Retrieved
2266:
2256:
2244:. Retrieved
2240:
2230:
2218:. Retrieved
2214:
2204:
2192:. Retrieved
2188:
2178:
2166:. Retrieved
2160:
2150:
2130:
2089:
2085:
2059:
2053:
2012:
2008:
1968:
1964:
1934:Boston Globe
1932:
1926:
1912:
1908:
1896:
1892:
1883:
1879:
1870:
1868:
1860:
1856:
1848:
1829:
1823:
1819:
1811:
1794:
1786:
1771:
1767:
1758:
1751:
1741:Laura Mulvey
1734:
1713:
1704:
1692:
1676:
1673:
1669:
1653:
1635:
1622:
1606:
1600:
1594:
1592:
1583:
1580:Norman Bates
1564:
1560:
1557:gender roles
1550:
1530:
1524:
1518:
1511:cisnormative
1493:
1485:
1482:Norman Bates
1474:
1456:
1455:(1984), and
1450:
1444:
1438:
1432:
1430:
1422:
1418:
1406:
1384:
1375:
1373:fantasies."
1368:
1364:
1344:
1340:
1337:Carrie White
1332:
1330:
1323:
1322:(1983), and
1317:
1311:
1307:The Exorcist
1305:
1299:
1296:
1291:menstruation
1288:
1281:
1274:AndrΓ©e Melly
1251:
1241:
1235:
1229:
1224:High Tension
1222:
1216:
1210:
1200:
1191:action films
1183:
1176:
1173:Carol Clover
1168:
1163:
1156:
1144:Slasher film
1130:
1122:
1118:
1108:
1104:
1097:
1091:
1088:Renata Adler
1081:
1079:
1067:woman's film
1056:
1048:
1032:Psycho-biddy
1021:pornographic
1017:horror films
1014:
1005:
1003:
885:Supernatural
771:Scream queen
760:
708:
632:By continent
107:Horror films
101:
71:
62:
43:
26:
4764:Female gaze
4747:Film theory
4696:Chick flick
4574:Video nasty
4219:Underground
4165:Territories
4026:Horror film
3789:October 11,
3623:October 20,
3591:January 23,
3581:CinΓ©-Tracts
3308:. pp.
2712:(1): 54β63.
2414:January 22,
2310:11089/38742
2267:YES! Weekly
2168:January 23,
1903:pornography
1764:Female gaze
1696:masculinity
1626:patriarchal
1495:Transgender
1428:stand-in".
1349:patriarchal
1212:The Descent
1153:Macha MΓ©ril
1071:grande dame
1041:Bette Davis
930:Video nasty
724:underground
679:South Korea
4791:Categories
4716:Final girl
4663:Jouissance
4569:Grindhouse
4526:Characters
4504:Disability
4499:Jump scare
4482:final girl
4288:Film lists
4171:Australia
3587:(3): 25β31
2408:Refinery29
2189:Rue Morgue
1918:References
1781:See also:
1700:femininity
1660:Mia Farrow
1638:final girl
1446:Hellraiser
1426:homoerotic
1381:The Virgin
1361:Final girl
1355:Final girl
1319:The Hunger
920:Grindhouse
795:Jump scare
766:Final girl
756:Disability
742:Key topics
65:March 2012
4759:Male gaze
4658:Seriality
4415:Anthology
4327:By decade
4316:Malayalam
4241:Indonesia
4234:Bollywood
4204:Extremity
4060:Christmas
4033:Subgenres
3952:1664-1078
3909:April 12,
3871:143217961
3851:Sex Roles
3756:April 11,
3730:April 15,
3703:144087335
3653:April 11,
3647:Offscreen
3613:IndieWire
3534:200166679
3503:143739788
3495:0360-0025
3475:Sex Roles
3421:192825579
3254:145588307
3191:0195-6051
3125:2040-3275
2995:Spectator
2928:821725676
2791:0015-1386
2688:191339016
2644:143908234
2636:1077-6990
2354:0362-4331
2327:227950221
2319:2083-2931
2215:SYFY WIRE
2106:142297913
2092:: 39β56.
2086:Sex Roles
1985:143908234
1971:: 28β38.
1737:male gaze
1731:Male gaze
1619:Sexuality
1596:Homicidal
1537:cisgender
1501:or other
1090:, in her
1027:Subgenres
669:Indonesia
662:Malayalam
150:1896β1959
142:By decade
4598:Category
4536:villains
4273:Thailand
4210:Germany
4193:Jiangshi
4182:Cambodia
4129:Splatter
4055:Cannibal
4040:Arthouse
3970:31681095
3936:: 2298.
3530:ProQuest
3215:July 30,
3034:July 30,
2951:(2001).
2847:(1992).
1689:Audience
1658:(1968),
1613:misogyny
1571:Freudian
1546:Lacanian
1542:Freudian
1449:series,
1443:(1986),
1437:(1931),
1403:Mr. Hyde
1328:(1992).
1316:(1999),
1313:Stigmata
1310:(1973),
1304:(1976),
1231:Eli Roth
1158:Deep Red
1063:thriller
965:Category
880:Splatter
835:Cannibal
825:Arthouse
684:Thailand
4554:B movie
4547:Related
4467:History
4437:Natural
4408:By type
4200:France
4187:Chinese
4124:Slasher
4119:Satanic
4095:Monster
4085:Holiday
3961:6813198
3695:1225551
3522:Femspec
2808:(ed.).
2568:3210143
2514:: 1β20.
2495:May 24,
2469:May 24,
2359:May 26,
2272:May 24,
2246:May 24,
2220:May 24,
2194:May 24,
2029:2928507
1800:" and "
1440:The Fly
1325:Alien 3
1138:Slasher
908:Related
890:Vampire
875:Slasher
865:Satanic
855:Monster
850:Holiday
749:Content
715:German
127:History
51:Please
4735:theory
4711:Horror
4646:Tropes
4477:Gender
4460:Topics
4442:Sci-fi
4420:Comedy
4306:Indian
4268:Mexico
4250:Giallo
4245:Italy
4225:India
4154:comedy
4149:Zombie
4065:Comedy
3968:
3958:
3950:
3869:
3701:
3693:
3555:
3532:
3501:
3493:
3452:
3419:
3316:
3279:
3252:
3189:
3148:
3123:
3059:
2966:
2926:
2916:
2859:
2816:
2789:
2737:
2686:
2642:
2634:
2566:
2463:Bustle
2439:
2384:
2352:
2325:
2317:
2138:
2104:
2027:
1983:
1899:horror
1748:Female
1722:, and
1720:Clover
1716:Mulvey
1584:Psycho
1529:, and
1520:Psycho
1487:Psycho
1345:Carrie
1341:Carrie
1333:Carrie
1301:Carrie
1254:abject
1242:Hostel
1236:Hostel
1221:, and
1186:erotic
1124:Bustle
1111:ageism
1059:horror
1053:(1962)
963:
952:Portal
895:Zombie
840:Comedy
820:Analog
813:Genres
761:Gender
710:Giallo
697:Europe
4531:hosts
4472:Score
4432:Ghost
4399:2020s
4394:2010s
4389:2000s
4384:1990s
4379:1980s
4374:1970s
4369:1960s
4364:1950s
4359:1940s
4354:1930s
4349:1920s
4344:1910s
4339:1900s
4334:1890s
4311:Hindi
4263:Korea
4258:Japan
4101:Kaiju
3867:S2CID
3699:S2CID
3691:JSTOR
3577:(PDF)
3528:(1).
3499:S2CID
3442:(PDF)
3417:S2CID
3310:76β87
3250:S2CID
3006:(PDF)
2991:(PDF)
2956:(PDF)
2881:(PDF)
2684:S2CID
2640:S2CID
2323:S2CID
2102:S2CID
2025:JSTOR
1981:S2CID
1735:The "
1724:Creed
1683:Satan
1664:Satan
1632:Chase
1507:Other
1238:films
1073:and "
1010:women
790:Music
674:Japan
657:Hindi
652:ghost
647:India
589:2020s
524:2010s
459:2000s
394:1990s
329:1980s
264:1970s
199:1960s
186:1950s
181:1940s
176:1930s
171:1920s
166:1910s
161:1900s
156:1890s
132:Lists
4514:Race
4509:LGBT
4144:Teen
4070:Folk
4050:Body
3966:PMID
3948:ISSN
3911:2012
3791:2019
3758:2016
3732:2016
3655:2016
3625:2018
3593:2023
3553:ISBN
3491:ISSN
3450:ISBN
3314:ISBN
3277:ISBN
3217:2022
3187:ISSN
3146:ISBN
3121:ISSN
3088:(1).
3057:ISBN
3036:2022
2964:ISBN
2924:OCLC
2914:ISBN
2893:2019
2887:: 71
2857:ISBN
2814:ISBN
2787:ISSN
2735:ISBN
2632:ISSN
2564:PMID
2497:2021
2471:2021
2437:ISBN
2416:2023
2382:ISBN
2361:2021
2350:ISSN
2315:ISSN
2274:2021
2248:2021
2222:2021
2196:2021
2170:2022
2136:ISBN
1901:and
1710:Male
1563:and
1544:and
1276:and
1065:and
1043:and
845:Folk
830:Body
800:Race
640:Asia
621:2025
616:2024
611:2023
606:2022
601:2021
596:2020
576:2019
571:2018
566:2017
561:2016
556:2015
551:2014
546:2013
541:2012
536:2011
531:2010
511:2009
506:2008
501:2007
496:2006
491:2005
486:2004
481:2003
476:2002
471:2001
466:2000
446:1999
441:1998
436:1997
431:1996
426:1995
421:1994
416:1993
411:1992
406:1991
401:1990
381:1989
376:1988
371:1987
366:1986
361:1985
356:1984
351:1983
346:1982
341:1981
336:1980
316:1979
311:1978
306:1977
301:1976
296:1975
291:1974
286:1973
281:1972
276:1971
271:1970
251:1969
246:1968
241:1967
236:1966
231:1965
226:1964
221:1963
216:1962
211:1961
206:1960
4425:Eco
3956:PMC
3938:doi
3900:doi
3859:doi
3827:doi
3683:doi
3483:doi
3409:doi
3343:doi
3242:doi
3179:doi
3113:doi
2779:doi
2676:doi
2624:doi
2593:doi
2556:doi
2490:BBC
2305:hdl
2297:doi
2094:doi
2017:doi
1973:doi
1652:In
1590:.
1582:in
1484:in
1280:in
1218:Saw
1175:'s
1132:BFI
1047:in
4793::
3964:.
3954:.
3946:.
3934:10
3932:.
3928:.
3896:26
3894:.
3890:.
3865:.
3855:23
3853:.
3839:^
3823:38
3821:.
3799:^
3775:.
3749:.
3723:.
3711:^
3697:.
3689:.
3679:39
3677:.
3645:.
3633:^
3610:.
3583:.
3579:.
3524:.
3520:.
3497:.
3489:.
3479:62
3477:.
3473:.
3429:^
3415:.
3405:25
3403:.
3367:.
3339:37
3337:.
3312:.
3275:.
3248:.
3236:.
3207:.
3185:.
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