Lacey Waldron
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Men, Women, and Chain Saws
- Gender in the Modern Horror Film
- De: Carol J. Clover
- Narrado por: Eva Wilhelm
- Duración: 10 h y 7 m
- Versión completa
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General4 out of 5 stars 78
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Narración:4 out of 5 stars 68
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Historia4.5 out of 5 stars 68
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.
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2 out of 5 stars
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There's so much more to horror than this...
- De Lacey Waldron en 03-16-25
- Men, Women, and Chain Saws
- Gender in the Modern Horror Film
- De: Carol J. Clover
- Narrado por: Eva Wilhelm
There's so much more to horror than this...
Revisado: 03-16-25
I tried really hard to read this through an early 90s lense because, obviously, horror movies and the world in general have changed drastically in the 30 years since this was published. Even so, I can't say I agree with most of what Carol Clover posits. She has a few interesting points regarding things like the city vs country dynamic and of course the iconic Final Girl. Other than that, majority of the things discussed in this book are a wildly Freudian stretch. Sure, there are some horror subgenres (ie. r**e/revenge) that necessitate a sexual analysis, but Carol seems to view every single horror movie ever made through her Freudian glasses. I would like to remind her that other psychological philosophies exist.
The chapter in which she focuses on the sexuality in the formula of slasher movies is especially frustrating. Allegedly, The Texas Chain Saw Massacre was her introduction to slashers/horror in general and kicked off her analysis of such movies. Yet when discussing, in her opinion, the complete focus on sex in "all" slasher movies, she conveniently avoids discussing the original TCM to instead focus heavily on TCM2 because it better fits her thesis. The original TCM is utterly, and intentionally, asexual.
It could be just as easily argued that the similarities in slashers arise merely from it being a popular subgenre and the formula works for audiences. Horror has always been a very connected community and directors, writers, and actors have always learned from and fed off of each other. For heavens sake, the one and only reason we have the Jason jump scare in the lake at the end of Friday the 13th is because Tom Savini had just seen Carrie and wanted to emulate the Carrie's hand jump scare.
I am a major horror fan and I think it is has always been the absolute best genre in which to hold up a mirror to the audience in terms of social commentary, anxieties regarding changing political and cultural landscapes, and all forms of psychology. That being said, Carol ignoring all of that and just reducing it all down to sex is painful. She missed the forest, and all the horror inside of it, for the trees, simply because she thinks they look phallic.
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