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Men, Women, and Chain Saws

Name: Men, Women, and Chain Saws
Author: Carol J. Clover

Gender in the Modern Horror Film - Updated Edition

Carol J. Clover

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eBook - PDF

Men, Women, and Chain Saws

Gender in the Modern Horror Film - Updated Edition

Carol J. Clover

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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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Information

Publisher

Princeton University Press

Year

2015

ISBN

9781400866113

Topic

Media & Performing Arts

Subtopic

Film History & Criticism

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.