![]() ![]() ![]() We can see this operating archetypically in Halloween (Jamie Lee Curtis, 1978), Friday the 13th (Betsy Palmer, 1980), Eyes of a Stranger (Jennifer Jason Leigh, 1981), and A Nightmare on Elm Street (Heather Langenkamp, 1984). So while the narratively dominant killer’s subjective point of view may be male within the narrative, the male viewer is still rooting for the Final Girl to overcome the killer. ![]() While most theorists label the horror film as a male-driven/male-centered genre, Clover points out that in most horror films, especially the slasher film, the audience, male and female, is structurally ‘forced’ to identify with the resourceful young female (the Final Girl) who survives the serial attacker and usually ends the threat (until the sequel anyway). One of the book’s major points concerns the structural positioning of what she calls the Final Girl in relation to spectatorship. One of the more important, if not groundbreaking, accounts/recuperations of the horror film from a feminist perspective is Carol Clover’s Men, Women, and Chainsaw. The Final Girl: A Few Thoughts on Feminism and Horrorīy Donato Totaro Volume 6, Issue 1 / January 2002 11 minutes (2741 words) ![]()
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