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)

FREE Shipping

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)

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)

RRP: £16.99
Price: £8.495
£8.495 FREE Shipping

In stock

We accept the following payment methods


He knows how to build a world and an arc and make it feel well thought out and explored in less than fifty pages. Bubbling away beneath Clover's multi-faceted readings of slasher, occult, and rape-revenge films is the question of what the viewer gets out of them. SGJ is always fun to read, and his short stories are awesome little slices of gritty East Texas life, with lots of dusty flat spaces and flea bitten dogs under dilapidated trailers. For example, she spends the better part of the third essay talking about Deliverance in explicit detail, while name-dropping other actual horror films with nary a description.

So when I found out he had put out a new story this year, Men, Women, and Chainsaws, I HAD to read it as soon as possible (you can read the whole thing here). They also could’ve already begun identifying with Drew Barrymore’s character as the final girl which could’ve been part of the reasons why this film’s first scene managed to create such a big shock. It felt like one of those B-movie adventures with the lurid title and even more lurid trailers - and I mean that in the best possible way as really this is what it is, one of those great revenge stories that can only happen on the screen (or in this case the word). 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.I’m glad to have read it — as it’s an iconic book — but I’m definitely more happy to be finished with it. As she finds out some ugly truths about Victor, as well as some hidden truths about what happened to her biological parents, my heart broke for her as she seeks out a connection, seeks out not only the hope of taking out a user and abusive prick, but also the hope of finding a connection to the parents she never knew, and finding not only meaning in their loss, but also perhaps an otherworldly reunion. Under the rust she’d touched, there was that distinctive midnight blue that so many of these Z/28s had been painted with. The powdery rust was griming up the ass of her jean shorts, she knew, and probably painting the backs of her thighs, too—definitely her palms, already—but her boots were the same color. Patrons of a slasher film or a rape-revenge film know more or less what to expect well before the film rolls, and at least one horror director (William Friedkin) has suggested that their emotional engagement with the movie begins while they are standing in line-a proposition that acknowledges the profoundly formulaic nature of the enterprise.

It is through pain and trials that the final girl can become manned, she must pass from victim to hero. However, I think she misses an opportunity to discuss an unacknowledged motivation of the “critical” viewer, which is 1) Sadism as the only acceptable form of masculinity left to the 20th century male and 2) that the disgust felt in the r*pe revenge horror I Spit On Your Grave is less about the graphic violence of women regardless of her own successful revenge, but is due to internalized misogyny or simple misogyny of the viewer who are not given a white knight who would stand for them in the film. Clover, Men, Women and Chainsaws: Gender in the Modern Horror Film; Barbara Creed, The Monstrous-Feminine: Film, Feminism and Psychoanalysis, Screen, Volume 36, Issue 1, Spring 1995, Pages 75–78, https://doi. The party hadn’t even dialed its volume down from the glass breaking, meaning either nobody cared or she was too far away for anyone to have heard. There are some great subtle touches including all the - yes you guessed it - horror movie references, especially focusing on the clichés and how they hope they will work out for them.Favorite novels change daily, but Valis and Love Medicine and Lonesome Dove and It and The Things They Carried are all usually up there somewhere. And Clover makes some good points about the story and its themes, before abruptly going off the rails. The "last girl" trope, male gaze, and other common elements are discussed, their place in the history of horror cinema, their origin and purpose. And a lot of times, even the Good Takes become Bad Takes by sliding down a subconscious slippery slope. Of course, the most important part of this introduction chapter is Clover’s explanation of gender within the horror film.

For librarians and administrators, your personal account also provides access to institutional account management. And if anybody’d towed it here for whatever batshit reason, they surely would have sat those soft turbine wheels up on cinderblocks or wood, at least. Short stories are generally hit or miss for me, but Stephen Graham Jones is always on point within this format. It can feel a little dry at times, but it truly gives some interesting insights that can still be explored today.Many of these genres have seen at least one resurgence in the 21st Century, including remakes of films Clover discusses. By not being presented with a traditional male hero, the audience can only empathize with the r*pe victim and that is a kind of egregious humiliation, especially for men, no matter how she completely destroys her attackers (and boy howdy does she). men, women, and chainsaws is an incisive piece of psychoanalytic film scholarship that codifies and interprets three sub-genres of "low" horror: slasher, possession, and rape-revenge movies.

That, I suspect, is what people liked to see in these movies in an era of rising mega-corporations and big business: the little guy winning for once, even if it's only for a while. This doesn’t feel like someone who is a fan of the genre, as such, but someone who still kind of wants to champion it as a genre and validity of studying it.Men, Women, and Chainsaws" follows Jenna, who has been abandoned by both her adopted parents and her man-ho fiancé. I don't agree with all of Clover's conclusions, but then I have the hindsight of almost three decades to look back at what these films accomplished.

  • Fruugo ID: 258392218-563234582
  • EAN: 764486781913
  • Sold by: Fruugo

Delivery & Returns


Address: UK
All products: Visit Fruugo Shop