Gender in horror films - Knowledge (XXG)

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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. 1769:

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". 1149: 1649: 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 1395: 4593: 960: 1478: 1624:

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.

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combined with sexual images is believed to affect males’ 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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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. 1866:

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 — "hag" and "biddy" —

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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 1365:

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.

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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". 4446: 1335:

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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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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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".

2948: 2878:"Who is Going to Save the Final Girl?: The Politics of Representation in the Films Halloween and The Silence of the Lambs" 1752: 4624: 4535: 4436: 4084: 3305: 2457: 2375: 984: 620: 615: 610: 605: 600: 595: 575: 570: 565: 560: 555: 550: 545: 540: 535: 530: 510: 505: 500: 495: 490: 485: 480: 475: 470: 465: 445: 440: 435: 430: 425: 420: 415: 410: 405: 400: 380: 375: 370: 365: 360: 355: 350: 345: 340: 335: 315: 310: 305: 300: 295: 290: 285: 280: 275: 270: 250: 245: 240: 235: 230: 225: 220: 215: 210: 205: 3230:

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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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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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. 1167:

are a subgenre of horror films featuring acts of violence portrayed in graphic detail. In his book entitled

1121:, stating that the "cycle of films renders the aging women at their core as monstrously "othered" objects." 977: 126: 3204: 2988:"Fear and the Cisgender Audience: Transgender Representation and Audience Identification in Sleepaway Camp" 4801: 4741: 4672: 4267: 4233: 1782: 1318: 1131: 3886: 4597: 4287: 4277: 3529: 3232: 2510:

King, Neal (2005). "Boy Jokes: Content Analysis Of Hollywood Misogyny In Mean Girl And Slasher Movies".

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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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concepts of the gaze that structure our affective responses to seeing bodies cut on-screen."

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exploits cisnormative societies' fear of gender outside the binary, while the character of

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is generally thought of to be the cornerstone work of studying gender in slasher films.

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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: 1277: 1257: 1152: 914: 849: 3642: 4790: 4682: 4262: 4153: 4128: 4094: 4064: 4054: 3870: 3702: 3502: 3420: 3253: 3077: 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. 66–113. 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: 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

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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?".

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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: 17: 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

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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

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Psycho-biddy is a film subgenre which combines elements of the

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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 Almodóvar's The Skin I Live In" 2812:. Austin, Texas: University of Texas Press. pp. 279–95. 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. 85–88. 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

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disgusts us, yet comes from us or from which we come."

52: 3386:

In The Dread of Difference: Gender and the Horror Film

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Shary, Timothy; McVittie, Nancy (September 6, 2016).

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Decolonization: Indigeneity, Education & Society

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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. 80–86. 1965:Journalism & Mass Communication Quarterly 1662:portrays a young woman who is impregnated by 985: 8: 3448:. Oxford University Press. pp. 833–44. 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:Repositório 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): 40–47. 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 4807:Film controversies 4776:Literary criticism 3863:10.1007/BF00289865 3669:Benshoff, Harry M. 3481:(11–12): 762–773. 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:(3–4): 187–196. 3846: 3835: 3834: 3814: 3795: 3794: 3792: 3790: 3778:Black Girl Nerds 3768: 3762: 3761: 3759: 3757: 3742: 3736: 3735: 3733: 3731: 3716: 3707: 3706: 3665: 3659: 3658: 3656: 3654: 3638: 3629: 3628: 3626: 3624: 3603: 3597: 3596: 3594: 3592: 3578: 3569: 3563: 3562: 3544: 3538: 3537: 3513: 3507: 3506: 3466: 3460: 3459: 3443: 3434: 3425: 3424: 3396: 3390: 3389: 3381: 3375: 3374: 3357: 3351: 3350: 3330: 3324: 3323: 3293: 3287: 3286: 3264: 3258: 3257: 3227: 3221: 3220: 3218: 3216: 3201: 3195: 3194: 3162: 3156: 3155: 3135: 3129: 3128: 3096: 3090: 3089: 3073: 3067: 3066: 3046: 3040: 3039: 3037: 3035: 3029:14 East Magazine 3020: 3014: 3013: 3007: 2992: 2983: 2974: 2973: 2957: 2945: 2932: 2931: 2903: 2897: 2896: 2894: 2892: 2882: 2873: 2867: 2866: 2845:Clover, Carol J. 2841: 2824: 2823: 2801: 2795: 2794: 2762: 2745: 2744: 2720: 2714: 2713: 2701: 2692: 2691: 2661: 2648: 2647: 2607: 2601: 2600: 2578: 2572: 2571: 2537: 2531: 2530: 2522: 2516: 2515: 2507: 2501: 2500: 2498: 2496: 2481: 2475: 2474: 2472: 2470: 2453: 2447: 2446: 2426: 2420: 2419: 2417: 2415: 2398: 2392: 2391: 2371: 2365: 2364: 2362: 2360: 2337: 2331: 2330: 2312: 2284: 2278: 2277: 2275: 2273: 2258: 2252: 2251: 2249: 2247: 2232: 2226: 2225: 2223: 2221: 2206: 2200: 2199: 2197: 2195: 2180: 2174: 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: 4827: 4826: 4822: 4821: 4820: 4818: 4817: 4816: 4787: 4786: 4785: 4780: 4727: 4677: 4641: 4638: 4608: 4603: 4583: 4542: 4451: 4403: 4322: 4282: 4160: 4139:Social thriller 4028: 4023: 3993: 3992: 3982: 3981: 3977: 3923: 3922: 3918: 3908: 3906: 3883: 3882: 3878: 3848: 3847: 3838: 3816: 3815: 3798: 3788: 3786: 3770: 3769: 3765: 3755: 3753: 3744: 3743: 3739: 3729: 3727: 3718: 3717: 3710: 3667: 3666: 3662: 3652: 3650: 3640: 3639: 3632: 3622: 3620: 3605: 3604: 3600: 3590: 3588: 3576: 3571: 3570: 3566: 3559: 3546: 3545: 3541: 3515: 3514: 3510: 3468: 3467: 3463: 3456: 3441: 3436: 3435: 3428: 3398: 3397: 3393: 3383: 3382: 3378: 3359: 3358: 3354: 3332: 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): 194–208. 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): 187–228. 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): 243–246. 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): 219–236. 3391: 3376: 3352: 3325: 3319:978-0534528799 3318: 3288: 3282:978-0199927494 3281: 3259: 3222: 3211:. June 8, 2021 3196: 3177:(3): 106–113. 3157: 3150: 3130: 3111:(2): 305–317. 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): 387–400. 2649: 2602: 2591:(3): 385–392. 2573: 2554:(1): 758–768. 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: 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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): 233–42. 3340: 3336: 3329: 3326: 3321: 3315: 3311: 3307: 3303: 3299: 3292: 3289: 3284: 3278: 3274: 3270: 3263: 3260: 3255: 3251: 3247: 3243: 3240:(4): 370–92. 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: 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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: 1686: 1684: 1680: 1679: 1672: 1665: 1661: 1657: 1656: 1650: 1643: 1641: 1639: 1631: 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: 1549: 1547: 1543: 1538: 1534: 1533: 1528: 1527: 1522: 1521: 1516: 1512: 1508: 1504: 1500: 1496: 1489: 1488: 1483: 1479: 1475: 1472: 1464: 1462: 1460: 1459: 1454: 1453: 1448: 1447: 1442: 1441: 1436: 1435: 1429: 1427: 1421: 1414: 1410: 1409: 1404: 1400: 1399:Fredric March 1396: 1389: 1387: 1380: 1378: 1374: 1372: 1367: 1362: 1354: 1352: 1350: 1346: 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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: 672: 670: 667: 663: 660: 658: 655: 653: 650: 649: 648: 645: 644: 637: 636: 633: 629: 622: 619: 617: 614: 612: 609: 607: 604: 602: 599: 597: 594: 593: 590: 585: 584: 577: 574: 572: 569: 567: 564: 562: 559: 557: 554: 552: 549: 547: 544: 542: 539: 537: 534: 532: 529: 528: 525: 520: 519: 512: 509: 507: 504: 502: 499: 497: 494: 492: 489: 487: 484: 482: 479: 477: 474: 472: 469: 467: 464: 463: 460: 455: 454: 447: 444: 442: 439: 437: 434: 432: 429: 427: 424: 422: 419: 417: 414: 412: 409: 407: 404: 402: 399: 398: 395: 390: 389: 382: 379: 377: 374: 372: 369: 367: 364: 362: 359: 357: 354: 352: 349: 347: 344: 342: 339: 337: 334: 333: 330: 325: 324: 317: 314: 312: 309: 307: 304: 302: 299: 297: 294: 292: 289: 287: 284: 282: 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Retrieved 3898:(3): 25–34. 3895: 3891: 3879: 3854: 3850: 3822: 3818: 3787:. Retrieved 3783:the original 3776: 3766: 3754:. Retrieved 3750: 3740: 3728:. Retrieved 3724: 3681:(2): 31–50. 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): 16–27. 2774: 2770: 2725: 2718: 2709: 2705: 2671: 2665: 2622:(1): 28–38. 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:. 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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:Andrée 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: 18:Psycho-biddy 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:Ciné-Tracts 3308:. pp. 2712:(1): 54–63. 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 Méril 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): 25–31 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:: 39–56. 2086:Sex Roles 1985:143908234 1971:: 28–38. 1737:male gaze 1731:Male gaze 1619:Sexuality 1596:Homicidal 1537:cisgender 1501:or other 1090:, in her 1027:Subgenres 669:Indonesia 662:Malayalam 150:1896–1959 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 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