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Men, Women, and Chain Saws: Gender in the Modern Horror Film (Princeton Classics): Gender in the Modern Horror Film - Updated Edition: 15 (Princeton Classics, 15)

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But, overall, a very insightful and very informative set of essays that definitely have me even looking at contemporary horror a bit differently.

But regardless, most of it is from a bio-essentialist perspective, which severely tainted my experience and made me wish for a modern, more progressive version. Come sunrise, they were going to have to tackle her to get her to stop, and then they’d better get those cuffs on her fast, because she was going to be trying to slip away, pick that sledgehammer up one more time, come at that rusted-out memory like a fucking Valkyrie.

It reminded me a lot of Jack Halberstam’s comment in his Skin Shows (which I can’t wait to re-read for this list! Andrea Walsh, The Boston Globe "Clover makes a convincing case for studying the pulp-pop excesses of 'exploitation' horror as a reflection of our psychic times. By using the Web site, you confirm that you have read, understood, and agreed to be bound by the Terms and Conditions.

But those same critics would often fail to acknowledge the even-louder uproar of support for the Final Girl during the climactic confrontation. I’m being a bit vague, and I kind of have to be because the story is filled with emotional beats that are best experienced with no prior knowledge. A great example of this shift in horror film endings between the 1970’s and the 1980’s can be seen in the first two Texas Chain Saw Massacre films.The bloodhungry car pays tribute to Christine, but ultimate props goes to SGJ himself, for the use of the Oxford comma!

She wasn’t just going to wail on that Camaro’s hood, she was going to jail for it, she didn’t care anymore. Our main character is Jenna, a woman who has had to deal with a fair amount of loss in her life, the most recent one being that of her boyfriend Victor, who went to work on oil rigs and sent her a break up letter. She suggests that the "low tradition' in horror movies possesses positive subversive potential, a space to explore gender ambiguity and transgress traditional boundaries of masculinity and femininity. With the Final Girl’s appropriation of “all those phallic symbols” comes the dispelling of the “uterine” threat as well. This took me a fair while to read, not through any fault of the book, but it’s been so long since I read anything academic I admit I struggled a bit.Men, Women, and Chainsaws" follows Jenna, who has been abandoned by both her adopted parents and her man-ho fiancé. But then she just stood there, the heavy head of that sledgehammer by her right boot, the handle easy in her hand. Clover suggests we see women characters frightened more, but I'm not sure I entirely agree with even that.

I’ll repeat my praise for it taking the genre seriously and diving very deep, but I just want better takes from a better perspective.The writing is crisp and succinct and a bit less dry than reading, say, Laura Mulvey, but still dense with ideas and academic enough to satisfy the snob in me. She did still have one snapshot of them—her mom had insisted she’d want it someday—but other than that, all she had was a mix of their blood, she figured.

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