Was born on the 31st of July, 1940 is American and a film studies professor of rhetoric language and mythology that is ' Scandinavian'. She has been widely published in her expert areas. For example, her 1992 book Men, Women, and Chainsaws: Gender in the Modern Horror Film achieved incredible popularity beyond academia; she is also highly credited for the development of the "final girl" theory which is within the book, that changed popular and academic conceptions of gender in horror films.
We Crimson Webb Films have read through her book written in 1992 named 'Men, Women and Chainsaws: Gender in the Modern Horror', because we find her very reliable when it comes to her research on the horror genre due to the fact that she has been widely published which clarifies the reliability of what she writes and that many people of the audience that we are aiming for , (that being the age rating of 15).
From her book we have quoted important quotes that we think our necessary to our research and hence our final draft horror title sequence. Such as...
" the first and central aim of horror cinema is to play to masochistic fears and desires in its audiences"
This quote tells us that Clover believes that if we play with the audience emotions especially the fears of masochism;( the fear of enjoying the emotion of being afraid) and the masochistic desires. because "masochism dominates".
The Final Girl Theory
The "Final Girl" Theory is a trait in some horror films (normally slasher films) which was termed by Carol Clover in her book . It refers to the last person alive being a women to confront the killer or horror monstrosity, hence the last one left to tell the story.
The "final girl" has been observed in many films including Alien and Halloween. The term was coined by Carol J. Clover in her 1992 book Men, Women, and Chainsaws: Gender in the Modern Horror Film. Clover suggested that in these films, the viewer began by sharing the perspective of the killer, but experienced a shift in identification to the final girl partway through the film.
" the first and central aim of horror cinema is to play to masochistic fears and desires in its audiences"
This quote tells us that Clover believes that if we play with the audience emotions especially the fears of masochism;( the fear of enjoying the emotion of being afraid) and the masochistic desires. because "masochism dominates".
The Final Girl Theory
The "Final Girl" Theory is a trait in some horror films (normally slasher films) which was termed by Carol Clover in her book . It refers to the last person alive being a women to confront the killer or horror monstrosity, hence the last one left to tell the story.
The "final girl" has been observed in many films including Alien and Halloween. The term was coined by Carol J. Clover in her 1992 book Men, Women, and Chainsaws: Gender in the Modern Horror Film. Clover suggested that in these films, the viewer began by sharing the perspective of the killer, but experienced a shift in identification to the final girl partway through the film.
A common plot line in many horror films is one in which a series of victims is killed one-by-one by an
amid killer, therefore increasing the terror, culminating in a climax in which the last surviving member of the group, usually female, either vanquishes the killer or escapes. According to Carol Clover, the final girl in many of these works shares characteristics that are incredibly common.
amid killer, therefore increasing the terror, culminating in a climax in which the last surviving member of the group, usually female, either vanquishes the killer or escapes. According to Carol Clover, the final girl in many of these works shares characteristics that are incredibly common.
She is typically sexually unavailable or virginal; avoids the vices of the victims like illegal drug use and some of the time has a unisex name for example, Sydney and Laurie. Occasionally, the final girl will have a shared history with the killer. The final girl is the "investigating consciousness" of the film, moving the narrative forward and, as such, she exhibits intelligence, curiosity, and vigilance.
One of the basic premises of Clover's theory is that audience identification is unstable and fluid across gender lines, particularly in the case of the slasher film. The final girl is no longer the damsel in distress.
During the final girl's confrontation with the killer, Clover argues, she becomes masculinised through "phallic appropriation" by taking up a weapon, such as a knife or chainsaw, against the killer. The phenomenon of the male audience having to identify with a young female character in an ostensibly male-oriented genre, usually associated with sadistic voyeurism, raises interesting questions about the nature of slasher films and their relationship with feminism.
During the final girl's confrontation with the killer, Clover argues, she becomes masculinised through "phallic appropriation" by taking up a weapon, such as a knife or chainsaw, against the killer. The phenomenon of the male audience having to identify with a young female character in an ostensibly male-oriented genre, usually associated with sadistic voyeurism, raises interesting questions about the nature of slasher films and their relationship with feminism.
Clover argues that for a film to be successful, it is necessary for this surviving character to be female because she must experience abject terror, and many viewers would reject a film that showed abject terror on the part of a male. The terror has a purpose, in that the female, if she survives, is 'purged' of undesirable characteristics, such as relentless pursuit of personal pleasure.
An interesting feature of the genre is the 'punishment' of beauty and sexual availability (sometimes expressed as "Sex = Death"). Since the final girl is a virgin and therefore un-punishable, she can be the one who penetrates the attacker, making it her outlet for her sexual frustration, such as Laurie Strode from Halloween.