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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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She picked up Cray-Cray at the salon almost on time, but stopped a cool quarter mile back from their trailer. Its tires were long rotted off, most of its glass gone, and there’d been a few generations of birds roosting in the passenger seat, but all Victor and Jenna cared about was that perfect, unbent hood.

Men, Women, and Chainsaws makes for an excellent Halloween read featuring revenge, female rage, and tons of references, so I would definitely recommend it to fans of the horror genre. One criticism, perhaps unfair, is that the content is a bit dated, since this was published in 1992. Sitting in the same bedroom she’d already spent twenty-two years in—just six months more, now—Jenna crossed her legs on the bed and held her hand palm-up in her lap, and studied the small ridge of white scar tissue on the heel of her hand, where a burr in that Camaro’s hood had snagged her skin.

The decline of slasher films, which the author laments here, would see a dramatic increase in the years following: Scream and its iconic self-awareness would be nearly as influential as Halloween was all those years ago, horror remakes would become a veritable class of their own (even Scream 4 is in on this), and documentary-styled shockers would bring a frightening clarity of realism to an otherwise mythic form. But then she just stood there, the heavy head of that sledgehammer by her right boot, the handle easy in her hand. Prior to this book, horror was either ignored by “serious” critics and scholars, or condemned as hopelessly misogynistic.

It's the Final Girl chapter that really captured the public’s imagination, the term gaining widespread use and becoming so iconic it’s become an absolute fixture of horror, now so dissected, parodied, mimicked, and commented on you’d be hard pressed to find any horror fan who hasn’t heard the term. Halloween is an exceptional example, however, because the Final Girl, Laurie, appears alongside the killer Micheal in the sequel. Although horror films are broadly discussed, three main threads are examined in detail: slasher films, satanic possession films, and rape-revenge films. For librarians and administrators, your personal account also provides access to institutional account management. Instead of approaching the Camaro, even though she could

If you can pick this book up, it would be good to learn more about psychological elements in films like “Repulsion”, “I Spit on Your Grave”, “The Exorcist” ,“Ms 45” and other female based horror- exploitation films. i actually don't mind clover using a psychoanalytic lens to discuss popular symbolism in horror films because there's definitely a lot there, but IMO she should have quit while she was ahead and provided her analysis of these films without trying to argue that the young men who flock to horror movies do so to experience some kind of oedipal transference. But there’s so much more here about women and men and elevating the experience and study of the horror film. 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.

The bloodhungry car pays tribute to Christine, but ultimate props goes to SGJ himself, for the use of the Oxford comma!

She describes the slasher film a a pre-technological genre because of its attachment to weapons like chainsaws, daggers, and knives, the absence of guns, as well as the consistent failing of technologies like elevators, phones, cars, etc. com Original” by Stephen Graham Jones is an interesting short story about a creepy car, revenge, and of course, chainsaws. for me, the strongest aspect of the book is the way she traces the origins of these sub-genres and their influence on later "high-brow" films that garnered more critical acclaim.

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