Men, Women, and Chain Saws: Gender in the Modern Horror Film (Princeton Classics): Gender in the Modern Horror Film - Updated Edition: 15 (Princeton Classics, 15)

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Men, Women, and Chain Saws: Gender in the Modern Horror Film (Princeton Classics): Gender in the Modern Horror Film - Updated Edition: 15 (Princeton Classics, 15)

Men, Women, and Chain Saws: Gender in the Modern Horror Film (Princeton Classics): Gender in the Modern Horror Film - Updated Edition: 15 (Princeton Classics, 15)

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But it’s also a story of a woman who has suffered some pretty terrible loss in her life, and how a bloodthirsty car not only can help her seek revenge but also closure. The reason is that I have been picking away at some of the short stories by Stephen Graham Jones, one of my favorite authors, and I found one that is so accessible and such a quick read that I want to spread the word of this awesome author.

The penetration scene is commonly the film’s pivotal moment; if the victim has up to now simply fled, she now has no choice but to fight back. Here we see the solid emergence of a number of subgenres, and it’s interesting that she notes how many of these will likely die out, when we know more fully now the cyclical nature of many genres, including horror. While the Final Girl concept is the most referenced and recognized aspect of Men, Women, and Chainsaws, the rest of the book is important as well. The bloodhungry car pays tribute to Christine, but ultimate props goes to SGJ himself, for the use of the Oxford comma! Again, her reading of the terrible place, this time, the destruction of the terrible place, is probably really helpful to ecogothic and ecohorror readings.But there’s so much more here about women and men and elevating the experience and study of the horror film. Even though this was written in the 80s and published in 1992, leaving a huge gap between then and the current display of horror films, it is still an important work that for the most part refutes the viewer identification with sadism thesis. I won’t spoil it for you, but getting a gun definitely does not protect the character or make her ending a happy one. Jenna closed her eyes, kept them closed, her mom’s voice from California consoling but also far, far too loud for right now. She makes the point that film critics, indeed previous criticisms, view horror through a myopic lens, with which I agree.

There are several good points that I had never considered, but there are probably just as many Bad Takes. And—this was the first she’d been in this box since forever—the ring box Victor had proposed to her with.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.



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