Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Introduction to women in horror films
Introduction to women in horror films
Gender stereotypes in film
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Introduction to women in horror films
Zaira Aguilar CINE344 Genre: Horror March 15, 2017 The Monstrous Feminine Jennifer's Body, Karyn Kusama, 2009 Female sexuality has always been a societal taboo that limits the freedom of sexual desire by limiting the freedom of gender roles associated to the horror genre. It constrains female sexuality to an impenetrable box of horror genre tropes. The horror genre heavily comments on female sexuality implicating that women use their bodies to represent the conflict, (reflected through demonic possession), labeling them as monstrous females in need of purification, (reflected through exorcism), in order to restore the natural order and be once again “proper and clean”.“Possession becomes the excuse for legitimizing a display of aberrant …show more content…
They reject the disgusting bodily characteristics associated with the traditional demonic possession yet, the nature of the monstrous female remains. Creed explains possession and abjection by stating, “Possession becomes the excuse for legitimizing a display of aberrant feminine behavior which is depicted as depraved, monstrous, abject - Number firstly appealing.” She also explains how horror films demonstrate abjection through the women body weather it is whole of dismembered and how the body secrets disgusting bodily fluids such as blood, vomit, saliva etc. A perfect “graphic” example of this is the possessed pubescent girl, Regan, from the iconic 1973 horror film,The Exorcist ,directed by William …show more content…
Yet, the difference between the traditional “final girl” trope and Coby’s version is that she is not a purely innocent virgin rather she is a sexually active teenager who shares her sexual needs with her boyfriend, Chip. This contradicts the main principle characteristic of the traditional “final girl” trope ,which is crucial to the “final girl’s” survival. By rejecting virginity and embracing sexual freedom Coby shatters the “final girl” trope and brings it a step further by demonstrating Needy as the final survivor. In other horror films women who express sexual freedom are often punished and the first to die. For example, the opening scene in the thriller-parody, Scary Movie, the first to die is a very promiscuous girl played by Carmen Electra who is being chased down by the murder. In this scene the murder reaches for her and somehow rips all of her clothes off. She runs half naked through the water sprinklers in slow motion like if she was in Baywatch running her hands through her hair, touching her body, while making sexual jesters with her face only to be murdered. Scary movie pokes fun at the typical horror genre “final girl” trope by overly exaggerating this scene. Scary Movie comments on this trope and demonstrates what happens to the sexual and unpure women in the typical horror films, they die first and there is no
While examining nineteenth-century female monster, Susanne Beacker reveals that she remains a mere idea, a “voiceless textual object” in women’s gothic texts whose happy endings close to the retribution and exorcism of the monstrous woman and the entrapment of the heroine in the patriarchal system (72). In this context, DeLamotte contends that:
The reading by Barbara Creed titled “Horror and the Monstrous-Feminine: An Imaginary Abjection”, is an in-depth examination on the role of women in horror films. Creed challenges the commanding patriarchal view, which frequently puts the woman in the position of the helpless victim. She argues that when the feminine is constructed as monstrous, it is frequently done in conjunction with its mothering role and function. Creed’s main thesis supports that the prototype of all cinematic definitions of monstrosity related to the feminine is linked to the woman’s reproductive body. Creed elects to use the term “monstrous feminine” instead of female monster, because for Creed it is the “femininity itself that is monstrous” (41). It has been unfairly
Clover, Carol J. Men, Women, and Chainsaws: Gender in the Modern Horror Film. Princeton: Princeton Publishing, 1992.
Everyone has once been someone that they aren’t necessarily ashamed of, but something they aren’t anymore. When you’re in school, everyone is different; between the popular kids, the jocks, the cheerleader, the dorks, the Goths, and all the other “types” of people. In “Her Kind,” Anne Sexton shows that she has been a lot of different women, and she is not them now. In this paper we will be diving into the meanings behind the displaced “I,” the tone and reparation, and who Anne Sexton really is and how that affects what she is trying to let people see through this poem.
Picture a child sitting in front of a television watching the Wizard of Oz. To them, it is an assortment of magical beings, a land filled with wonderful places, with varieties of different colors. They do not picture it as something with far more meaning than just a plain fairytale. On the other hand, gender/feminist critics have been able to analyze the Wizard of Oz as well as Wicked, in order to find a more elaborate meaning behind the story itself. They have discussed what lies behind the story when it comes to the issue of sexism and masculinity towards the book itself as well as the characters. There are many concepts as well that help to further explain feminism and gender criticism. The four concepts that will be discussed later on are gender, feminist writings, patriarchal society, and gynocriticism. These concepts will then be reviewed as to how they play a part in the book Wicked.
These movies allowed female characters to embody all the contradictions that could make them a woman. They were portrayed as the “femme fatale” and also “mother,” the “seductress” and at the same time the “saint,” (Newsom, 2011). Female characters were multi-faceted during this time and had much more complexity and interesting qualities than in the movies we watch today. Today, only 16% of protagonists in movies are female, and the portrayal of these women is one of sexualization and dependence rather than complexity (Newsom, 2011).
Anna Julia Cooper’s, Womanhood a Vital Element in the Regeneration and Progress, an excerpt from A Voice from the South, discusses the state of race and gender in America with an emphasis on African American women of the south. She contributes a number of things to the destitute state African American woman became accustom to and believe education and elevation of the black woman would change not only the state of the African American community but the nation as well. Cooper’s analysis is based around three concepts, the merging of the Barbaric with Christianity, the Feudal system, and the regeneration of the black woman.
Women’s issues are a huge concern to me as I transition into the adult world, especially when sexual assaults are associated with the college culture. From the streets of America to a child bride in Africa, women are suffering from abuse, harassment, and mistreatment. The feminist movement has enhanced life for women, but, in modern society, there are many areas that still need improvement. If we want to resolve issues over the treatment of women, we must tackle and overcome negative views of women, take preventive measures to ensure the safety of women, and bring attention to these injustices.
Film scholar and gender theorist Linda Williams begins her article “Film Bodies: Genre, Gender and Excess,” with an anecdote about a dispute between herself and her son, regarding what is considered “gross,” (727) in films. It is this anecdote that invites her readers to understand the motivations and implications of films that fall under the category of “body” genre, namely, horror films, melodramas, (henceforth referred to as “weepies”) and pornography. Williams explains that, in regards to excess, the constant attempts at “determining where to draw the line,” (727) has inspired her and other theorists alike to question the inspirations, motivations, and implications of these “body genre” films. After her own research and consideration, Williams explains that she believes there is “value in thinking about the form, function, and system of seemingly gratuitous excesses in these three genres,” (728) and she will attempt to prove that these films are excessive on purpose, in order to inspire a collective physical effect on the audience that cannot be experienced when watching other genres.
Web. The Web. The Web. 1 Oct. 2013. http://www.empireonline.com/features/horror-through-the-decades/default.asp>.
Angela Carter’s “The Bloody Chamber,” is a visually intricate and feminist text; this feminism is portrayed through gender roles. The narrator is a young child who transitions into a woman searching for identity, and her husband’s masculine power defines it. In other words, this short story depicts gender roles and personal identity through the use of objectification of women. The deeper meaning behind the roles the men and women have may reflect Carter’s deconstruction of gender norms. The narrator enables the deconstruction by acting as a link; she conjoins two opposing ideas, like masculinity and femininity. These two opposing ideas create the deconstruction of gender norms that Carter elaborates on throughout her short story.
Horror movies have been part of mainstream cinema since the early 1930s when films such as Dracula and Frankenstein were created. As the horror genre evolved, so did the stories in the films. Friday the 13th (Marcus Nipsel, 2009) is a very good example of this evolution. Even though it is a remake, Friday the 13th changed the way horror movies were seen by the audience. The ideas and theory behind this slasher sub-genre of horror films can be summed up in a book. Carol Clover, an American professor of film studies, wrote a book in 1992 entitled Men, Women, and Chainsaws: Gender in the Modern Horror Film in which she described the horror film genre. In a chapter entitled “Her Body, Himself”, Clover describes how weapons play a very important role in horror movies as well as explaining her Final Girl theory. Her book’s ideas changed not only academic notions but also popular beliefs on horror films. The 2009 remake of Friday the 13th implies that Carol Clover’s ideas about 80s slasher films, including male tormentors, the importance of weapons, and the Final Girl, have stayed the same through the years.
Also, the film revealed women empowerment and how superior they can be compared to men. While demonstrating sexual objectification, empowerment, there was also sexual exploitation of the women, shown through the film. Throughout this essay, gender based issues that were associated with the film character will be demonstrated while connecting to the real world and popular culture.
When one thinks of the horror movies of the 1970s and 1980s, scenarios of obviously fake gore and campy female actresses usually spring to mind as normally stereotypical elements of the genre. In addition to this, there is usually the character of the “final girl,” the female character who survives by either escaping or defeating the antagonistic force at the end of the film, who differentiates in language use and body language to the other females of the films who ultimately become victims to the murderous villain. However, the film Friday the 13th not only shows the difference in the language of the final girl, Alice, to the other young women in the film, but it also shows a fluidity of gendered style in Bill, one of the young men in the
The biological differences that set apart the male and female gender throughout any culture remain eminent. Men are perceived as the stronger and dominant gender; women play the role of the weaker. In each culture the expectation of the manner in which men and women behave are influenced by the ideals and customs of that culture. In most predominant cultures, the man undertakes the role as a leader, and the woman devotes her life to the husband. Throughout history, traditions and literature provide a template to the identities of various cultures. Sleeping Beauty’s classic tale of a beautiful princess takes a central precept that previous patriarchal archetypes dominated during the 17th Century. The archetypal perceptions of women resulted from conscious and unconscious literature influenced by male-dominated perspectives and social standards.