She even provides aĬatalog of the film’s qualities that serves simultaneously as a description of Is that “the appointed ancestor of the slasher film is Hitchcock’s Psycho (1960)” (23). One of Clover’s most important observations about the slasher film Was largely young and largely male,” she notes, concluding, in fact, that suchįilms have generally been specifically addressed to young males as the impliedĪudience (23). Majority audience, perhaps even more than the audience for horror in general, For example, her conclusion about the audiences for slasher films Her readings of the slasher genre have been particularly Published in 1992-has set many of the terms for our subsequent understanding of Their orientation, suggesting the ability of the subgenre to transcend itsĬarol Clover’s influential study of gender in the horror film- Men, Women, and Chainsaws, first And some recent slasher films are downright feminist in But the best slasher films minimize these phenomena while including Upon women (often after they have just engaged in nonmarital sex or displays of Hacked-off body parts) and that this violence is disproportionately visited Violence (sometimes highlighted by spectacular displays of spurting blood and It is true that slasher films often feature gratuitous Often address important issues and sometimes address them in productive and This chapter as my principal exhibits, I would like to argue that slasher films However, with the six films I discuss in detail after Films of this type have often been criticizedįor their excessive violence (especially against women), and that criticism has The slasher subgenre has long been one of the most successful-and
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