eBook - PDF
Men, Women, and Chain Saws
Gender in the Modern Horror Film - Updated Edition
- 280 pages
- English
- PDF
- Available on iOS & Android
eBook - PDF
About this book
From its first publication in 1992, Men, Women, and Chain Saws has offered a groundbreaking perspective on the creativity and influence of horror cinema since the mid-1970s. Investigating the popularity of the low-budget tradition, Carol Clover looks in particular at slasher, occult, and rape-revenge films. Although such movies have been traditionally understood as offering only sadistic pleasures to their mostly male audiences, Clover demonstrates that they align spectators not with the male tormentor, but with the females tormented—notably the slasher movie's "final girls"—as they endure fear and degradation before rising to save themselves. The lesson was not lost on the mainstream industry, which was soon turning out the formula in well-made thrillers.
Including a new preface by the author, this Princeton Classics edition is a definitive work that has found an avid readership from students of film theory to major Hollywood filmmakers.
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Yes, you can access Men, Women, and Chain Saws by Carol J. Clover in PDF and/or ePUB format, as well as other popular books in Media & Performing Arts & Film & Video. We have over one million books available in our catalogue for you to explore.
Information
6
4
C
H
A
P
T
E
R
O
N
E
pocrisy
in
religion
or
government."65
And
Tania
Modleski
rests
her
case
against
the
Frankfurt
School-derived
critique
of
mass
culture
on
the
evidence
of
the
slasher,
which
does
not
propose
a
spurious
har-
mony;
does
not
promote
the
"specious
good"
(but
indeed
often
ex-
poses
and
attacks
it);
does
not
ply
the
mechanisms
of
identification,
narrative
continuity,
and
closure
to
provide
the
sort
of
narrative
plea-
sure
constitutive
of
the
dominant
ideology.66
One
is
deeply
reluctant
to
make
progressive
claims
for
a
body
of
cinema
as
spectacularly
nasty
toward
women
as
the
slasher
film
is,
but
the
fact
is
that
the
slasher
does,
in
its
own
perverse
way
and
for
better
or
worse,
con-
stitute
a
visible
adjustment
in
the
terms
of
gender
representations.
That
it
is
an
adjustment
largely
on
the
male
side,
appearing
at
the
furthest
possible
remove
from
the
quarters
of
theory
and
showing
signs
of
trickling
upward,
is
of
no
small
interest
in
the
study
of
pop-
ular
culture.67
65
Vale
and
Juno,
Incredibly
Strange
Films,
p.
5.
66
Tania
Modleski,
"The
Terror
of
Pleasure,"
pp.
155-66.
67
The
upward
trickle
has
become
something
of
a
flood
since
this
essay
was
first
published
in
1987.
See
the
Afterword,
below.
Table of contents
- Cover
- Title
- Copyright
- Dedication
- Contents
- Preface to the Princeton Classics Edition
- Acknowledgments
- INTRODUCTION: Carrie and the Boys
- CHAPTER 1: Her Body, Himself
- CHAPTER 2: Opening Up
- CHAPTER 3: Getting Even
- CHAPTER 4: The Eye of Horror
- AFTERWORD
- Films Cited
- Works Cited
- Index