Sie befinden Sich nicht im Netzwerk der Universität Paderborn. Der Zugriff auf elektronische Ressourcen ist gegebenenfalls nur via VPN oder Shibboleth (DFN-AAI) möglich. mehr Informationen...
Postmodern culture, 2017-09, Vol.28 (1)
2017

Details

Autor(en) / Beteiligte
Titel
Revisiting the Final GirlLooking Backwards, Looking Forwards
Ist Teil von
  • Postmodern culture, 2017-09, Vol.28 (1)
Ort / Verlag
Baltimore: Johns Hopkins University Press
Erscheinungsjahr
2017
Link zum Volltext
Quelle
Project MUSE
Beschreibungen/Notizen
  • According to Creed, "the avenging heroine of the slasher film is not the Freudian phallic woman whose image is designed to allay castration anxiety … but the deadly femme castratrice" (emphasis in original, 127). According to Halberstam, although the psychoanalytic tools adopted by Clover and Creed have resulted in highly productive ways of approaching horror films, especially as far as notions of fear and desire are concerned, "fear and monstrosity are historically specific forms rather than psychological universals" (24). Pointing to the queer tendency of horror film in general—its capacity "to reconfigure gender not simply through inversion, but by literally creating new categories" (139)—Halberstam argues that the Final Girl's femininity is recycled and transformed in new gender regimes. [...]in his queer reassessment of the slasher film, Halberstam challenges Clover's notion of the Final Girl as "boyish," arguing that this approach "remains caught in a gender lock" (143): it re-establishes normative gender positions in relation to fear and violence, leaving little space for addressing identification between female audiences and the aggressor. When the woman looks, both as a character within the film and as a viewer in the audience, she invariably "is punished … by narrative processes that transform curiosity and desire into masochistic fantasy" ("When the Woman Looks" 61). Because horror cinema tends to represent women as passive victims (of the male gaze), the presumed female behavior when watching these films is that of a passive spectator who refuses to look.4 Such assumptions were radically questioned in the mid-1990s, partly because of the broad circulation of Clover's Final Girl as a theoretical concept that enabled such revisions, and partly because of the appearance of a new slasher formula, alongside the growing visibility of female fans.
Sprache
Englisch
Identifikatoren
eISSN: 1053-1920
DOI: 10.1353/pmc.2017.0009
Titel-ID: cdi_proquest_journals_2557791297

Weiterführende Literatur

Empfehlungen zum selben Thema automatisch vorgeschlagen von bX