![]() The main thing that stands out is the way Clover approaches horror. There’s also brief discussions around various portrayals in horror linked to LGBT+ themes, and the appeal of horror outside a cis, het, white, male audience, though Clover doesn’t hugely go into these topics. Clover examines rape revenge and possession movies, as well as theories around the voyeur, with ideas centred around who is watching who. It's the Final Girl chapter that really captured the public’s imagination, the term gaining widespread use and becoming so iconic it’s become an absolute fixture of horror, now so dissected, parodied, mimicked, and commented on you’d be hard pressed to find any horror fan who hasn’t heard the term.īut this book, in all fairness, encompasses so much more than that. A lot of the ‘issues’ I had with this book can be explained away by the time it was written, but in an updated 2015 version it would have been perhaps useful to add something a bit more relevant. But the main takeaway from it is the reliance on Freudian psychology, the definition of Final Girl, and an overreliance on particular films. ![]() It was definitely interesting and make some good points, and I still think it’s worth a read. ![]() Still, it’s a key horror text, cited by many and which introduced the term “Final Girl” into the horror lexicon. This took me a fair while to read, not through any fault of the book, but it’s been so long since I read anything academic I admit I struggled a bit. ![]()
0 Comments
Leave a Reply. |