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Representation of women in horror films
Representation of women in horror films
Representation of women in horror films
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I was profoundly shaken by this film. But when I tried to gather my thoughts, compose myself and determine what about this film is truly the most horrifying part, I drew a blank. What exactly is it that makes this film scary? The best I could do was mull over some of the contenders for the scariest scene. The scene where Jennifer was lusting after the Low Shoulder drummer in the bar was suspenseful, climactic, and kept me on the edge of my seat with cold dread and apprehension. The scene where Jennifer idiotically consents to be transported into the woods by the Low Shoulder band was also terrifying, rife with horrific conjectures of what would happen to her and much internal screaming for her not to go with the suspect men. The intimate scene between Chip and Needy was also interspersed with horrific clips of a brutal murder and thus made equally terrifying. All of the scenes in which …show more content…
But I feel it is important to note that just because women are portrayed by this film as horrific does not mean that the film is decidedly misogynist. It may be construed, rather, that the woman has the upper hand throughout this entire film. The woman is more powerful: a supernatural creature who ultimately devours and overcomes men despite initially falling prey to them. It seems at the outset that men hold the power, leading Jennifer away and brutally murdering her. But she makes an ultimate comeback, being resurrected because of - not in spite of - her lack of virginity. Her promiscuity is actually what saves her, not what condemns her. She is resurrected as a powerful killing machine who murders males and thus exacts her vengeance. Needy, at the end of the film, kills the Low Shoulder band members and thereby completes the ultimate revenge, reasserting the power of the
...the predominant theme of disorientation and lack of understanding throughout the film. The audience is never clear of if the scene happening is authentic or if there is a false reality.
Halloween is rife with psychological scares that affect its audience greatly. “Symbolism, dreamlike imagery, emotional rather than rational logic” are present in Psychoanalytic criticism. Siskel and Ebert talked about how the movie makes you feel as if you are the protagonist, scared for your life and feeling every bit of suspense (Siskel and Ebert). The movie is purely fueled by emotional responses to what is happening to the characters and focuses itself purely on how the audience will respond. In the clip shown, the main protagonist talks about how she killed the killer but he is shown alive. The movie is not concerned with the logic; otherwise, the killer would have at least been slowed down by the injuries he sustained. Siskel and Ebert laud the movie on its set up of scenes, score, character development, and use of lighting to make the audience feel the terror the characters undergo.
To understand feminism in the novel, one must first understand the feminist lens itself. OWL Purdue describes the lens as “the ways in which literature (and other cultural productions) reinforce or undermine the economic, political, social, and psychological oppression of women” (Purdue). Feminism acts as both a commitment and a political movement that wants to end sexism in all forms. Most feminists generally disagree on many topics of the subject, however all have one common goal. These aspects affect The Things They Carry in a plethora of ways, mostly due to the fact that gender roles is a main theme. There are negative and positive aspects of the feminist lens. Positive contains the empowering of women and equality, whereas negative pertains to oppression and unequal rights. Both are covered in The Things They Carried from sex symbols to battle tor...
Enhancing the sustained fright of this film are an excellent cast, from which the director coaxes extraordinary performances, and Bernard Herrmann's chilling score. Especially effective is the composer's so-called "murder music," high-pitched screeching sounds that flash across the viewer's consciousness as quickly as the killer's deadly knife. Bernard Herrmann achieved this effect by having a group of violinists frantically saw the same notes over and over again.
They were held to lower standards and believed to be nothing but an object for men. The women were treated very poorly and were treated differently than the men. In many ways the women were shown to be little compared to the men. Since they didn 't have anything important in society the actions that were towards them were as if they 're peasants Woman had no possibility of ever been treated differently since they were ever going to have a better role in society. This movie portrayed how women weren’t held to higher standards but men
Lerner's words hold true for two women involved in the film I, the Worst of All. Both of them had to "reinvent the wheel" and show their male contemporaries that women can and will find their way out from under the control of patriarchy. Juana Ines de la Cruz and Maria Luisa Bemberg are separated by three centuries of continuous strife for feminists to affirm feminine subjectivity and feminine values. The struggle was/is doubly difficult because of what they have to face. At the time of making the film, Bemberg faced a mainstream cinema in which women were presented as a "function of male ambition" and as objects of possession, display, or currency (Bemberg in Pick 78). I, the Worst of All appeared in the 1990s, a time that we like to think is so different from the convent of 17th-centuryMexico. Bemberg shows us that it is not. Mainstream cinema never looks at women as "beings with ideas," as she says in an interview, but as empty shells, foils for the male characters, so that they can act and think (Pick 78). She had to fight a whole tradition of male filmmaking with her movie, and (re)assert her own feminist values in a film that challenges all the stereotypical filmic representation...
By dissecting the film, the director, Jennie Livingston's methodology and the audience's perceived response I believe we can easily ignore a different and more positive way of understanding the film despite the many flaws easy for feminist minds to criticize. This is in no way saying that these critiques are not valid, or that it is not beneficial to look at works of any form through the many and various feminist lenses.
Horror films are designed to frighten the audience and engage them in their worst fears, while captivating and entertaining at the same time. Horror films often center on the darker side of life, on what is forbidden and strange. These films play with society’s fears, its nightmare’s and vulnerability, the terror of the unknown, the fear of death, the loss of identity, and the fear of sexuality. Horror films are generally set in spooky old mansions, fog-ridden areas, or dark locales with unknown human, supernatural or grotesque creatures lurking about. These creatures can range from vampires, madmen, devils, unfriendly ghosts, monsters, mad scientists, demons, zombies, evil spirits, satanic villains, the possessed, werewolves and freaks to the unseen and even the mere presence of evil.
... as the martyr who dies for feminism, ultimately choosing death over marriage. This ending inevitably elevates the woman’s position to the highest status, while the men are made to look silly and unaware.
The attitude towards women has changed dramatically since 1990, the year that this film came out; you will however, find a few men who still have the attitude that women were put on this earth for their enjoyment. In the early nineties, women were hyper-sexualized and viewed as pawns in a game. MTV showed music videos with scantily clad women, which were seen as extremely scandalous at the time. The nineties was also an era of growth, liberalization and sexual discoveries that carried over from the eighties.... ...
"Horror Movies 2013." movieweb.com. N.p., n.d. Web. 3 Dec 2013. .Noton, Adriana. "A Brief History Of Horror Movies." Ezine Articles. Spark Net, 10 Aug. 2010. Web. 1 Dec. 2013. .
Would you rather be horrified beyond repair or thrilled to the point of no return? In horror, the main purpose is to invoke fear and dread into the audience in the most unrealistic way. Horror movies involve supernatural entities such as ghosts, vampires, teleportation, and being completely immortal. As thriller films are grounded in realism and involve more suspense, mystery, and a sense of panic. Though both genres will frighten the audience, it will happen in two different ways. Whether the horror thrills or the thriller horrifies, a scare is always incorporated.
...ereotypes and patriarchal norms (Annie baking, Helen being a rich step-mom, the wedding itself), it also undermines patriarchy at the same time. At one point or another throughout the film all of the female characters go against the common conception and portrayal of women being proper and passive. They can be raunchy, drink, use vulgar language, and show they aren’t that different from men.
Even if it demonises men, people claim it’s being politically correct; and makes feminists not be taken seriously. Misandry is brought up in a passage from the text, “...take a basket of fresh fruit and mineral water to her grandmother- not because this was woman’s work…”. This passage most people wouldn’t question why Little Red is doing this, the author makes it a gender bias; even when it really isn’t. It’s brought up again, when Little Red gets angry at the woodchopper; he hears a scream and sees a wolf looking to attack her. Most people would react the same way, it doesn’t matter what gender the person is, and if you hear someone scream; you would go to help.
Those one liners set the emotion of fear and discomfort before even watching the movie. You see a village covered by a yellow filter in the background being overshadowed by dark woods, a dark figure lurking wearing a red cloak looming in the corner. “Judging a book by its cover,” sign me up Shyamalan, I am ready to be scared, have my mind thrilled and twisted, while I watch for signature twist and escape into another