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Women in film underrepresented essay
Representation of women in horror films
Representation of women in horror films
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Women love gore too. Since the beginning of time people have always been intrigued by storytelling especially ones that scare them. Stephen King the master of horror once said people love watching horror films simply because it keeps their sanity. “It may be that horror movies provide psychic relief on this level because this invitation to lapse into simplicity, irrationality and even outright madness is extended so rarely” (King). When people see a slasher film it gives them a chance to kill off “Annoying Bob” from the office in their heads. Horror films also tell the story about the culture watching them.“Horror films are to an observer of culture what frogs are to the medical student: dissecting them displays the anatomy of the culture behind them better than with any other genre” (Brashinsky). Horror film directors give great visuals for people to kill off people in their minds as well as tell the story of the culture watching them. Traditionally this genre has been dominated by male directors. The work of most women in film gets pushed aside. Women’s perspectives as well as their work often gets devalued. Women can and have created great horror films. In the horror genre women are depicted as the victims but in many movies women are the heroes or the villains as well the director. Very few female directors have gotten credit for their work on films, even on great films. Their work is discredited especially in the horror genre. The reason women have been shut out of horror is the same reason women been shut out of film: it’s a man’s field. Since the beginning of cinema women have been involved. They wrote, produced, and even directed. Unfortunately they were not given credit and written out of the history of cinema. The only... ... middle of paper ... ...Films In Review 47.1/2 (1996): 36. Academic Search Elite. Web. 25 Apr. 2014. Weaver, Matthew. "Kathryn Bigelow Makes History as First Woman to Win Best Director Oscar." Theguardian.com. Guardian News and Media, 08 Mar. 2010. Web. 28 April 2014. Bartyzel, Monika. "Girls on Film: 10 Horror Movies You Probably Didn't Know Were Directed by Women." The Week.com. The Week Publications, 25 Oct. 2013. Web. 28 Apr. 2014. Hall, R.D. Through a Dark Lens: Jackson's Lord of the Rings as Abject Horror. Through a Dark Lens: Jackson's Lord of the Rings as Abject Horror. 3-4 ed. Vol. 25. : Mythlore, 2007. 55. Print. (Spring-Summer 2007). Nightmares in Red, White, and Blue: The Evolution of American Horror Films. Dir. Joseph Maddrey. Lorber Films, 2009. DVD. Bartyzel, Monika. "Girls on Film: How Women Shaped Horror." AOL Moviefone.com. Aol, Web. 25 Oct. 2010. Web. 28 Apr. 2014.
Too many horror films provide scares and screams throughout their respective cinemas. Not many viewers follow what kind of model the films follow to appease their viewers. However, after reading film theorist Carol Clover’s novel, watching one of the films she associates in the novel “Halloween”, and also watching the movie “Nightmare on Elm Street” I say almost every “slasher” or horror film follows a model similar to Clover’s. The model is a female is featured as a primary character and that females tend to always overcome a situation at some point throughout the film.
The Legend of Lizzie Borden. Video. Director William Bast. George Lemaire Productions in association with Paramount, 1975. Starring Elizabeth Montgomery.
Morgan, J. The biology of horror: gothic literature and film. Carbondale, IL: Southern Illinois University Press, 2002.
Horror genre conventions are evident in both films and the way they are directed has given me obvious indications on the effect the horror conventions can have on a film when used well, and the adverse effect when not used well. Both Japanese and American society are evident in these films, and the style of the films are similar to the nationality of the two directors. Horror conventions are used in both films, but the way they are used are quite different, and these contrasting styles are key in how effective the two films are to their audience.
The overall purpose of Carol Clover’s essay “Her Body, Himself: Gender in the Slasher Film” is to illustrate the repetitive, predictable aspect that Slasher
Some would say watching horror movies and being scared out of your wits is a fun way to spend their hard earned money. They go see these movies on average once a week, each time choosing a newer version of a trilogy like “Chucky” or “The evil Dead”. Film making has come a long way over the last few decades, the graphic...
movies are about men’s lives, and the few movies about women’s lives, at their core, still
In Hollywood today, most films can be categorized according to the genre system. There are action films, horror flicks, Westerns, comedies and the likes. On a broader scope, films are often separated into two categories: Hollywood films, and independent or foreign ‘art house’ films. Yet, this outlook, albeit superficial, was how many viewed films. Celebrity-packed blockbusters filled with action and drama, with the use of seamless top-of-the-line digital editing and special effects were considered ‘Hollywood films’. Films where unconventional themes like existentialism or paranoia, often with excessive violence or sex or a combination of both, with obvious attempts to displace its audiences from the film were often attributed with the generic label of ‘foreign’ or ‘art house’ cinema.
Among New American Ghost Cinema, one can witness the re-emergence of an interesting sub-genre: the Found Footage Cinema. We can observe this new fascination in many modern horror films such as 2008’s Cloverfield, 2009's Paranormal Activity, and 2011's Apollo 18. Digging below the surface of a literal reading of some of these movies, one finds a genre that can be far more intelligent than what meets the public eye. For example, within Cloverfield, the screams and images of smoke heaving through the city of Manhattan hint at post-September 11th. To understand the growing popularity of Found Footage Cinema and why we discover these political undertones, this paper will examine The Blair Witch Project (1999, Myrick and Sanchez) in the context of theorists Robin Wood and Jürgen Habermas’ discussion on humankind’s senses of truth and what our society represses or oppresses. Both Habermas’ essay “The Public Sphere” and Wood’s “Introduction to the American Horror Film” touch on the inner workings of the public’s mind. With these essays and an analysis of these films, I will be able to propose theories working towards a mode of critical engagement with the success of The Blair Witch Project. It is then that we will connect it to the wider social and political jungle surrounding America as it stood on the edge of the Twenty First Century.
There has been a large variety of horror films produced throughout the last fifty years. People are always going to be frightened and scared by different types of horror films. But, what type of horror film scares more people, and were men or women more frightened by these horror films? Each one of the horror films had its own agenda to frighten its audience using several different methods of horror. Some of these methods were more so directed at the female audience than the male audience. Most horror movies show the female as being vulnerable, because in real life females are defenseless against monsters.
Film scholars around the world agree that all genres of film are part of the “genre cycle”. This cycle contains four different stages that a specific genre goes through. These stages are: primitive, classic, revisionist, and parody. Each stage that the genre goes through brings something different to that genre’s meaning and what the audience expects. I believe that looking at the horror genre will be the most beneficial since it has clearly gone through each stage.
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.
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.
People are addicted to the synthetic feeling of being terrified. Modern day horror films are very different from the first horror films which date back to the late nineteenth century, but the goal of shocking the audience is still the same. Over the course of its existence, the horror industry has had to innovate new ways to keep its viewers on the edge of their seats. Horror films are frightening films created solely to ignite anxiety and panic within the viewers. Dread and alarm summon deep fears by captivating the audience with a shocking, terrifying, and unpredictable finale that leaves the viewer stunned.
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