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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. Investigating the popularity of the low-budget tradition, Carol Clover looks in particular at slasher, occult, and rape-revenge films. Although such movies have been traditionally understood as offering only sadistic pleasures to their mostly male audiences, Clover demonstrates that they align spectators not with the male tormentor, but with the females tormented--notably the slasher movie's "final girls"--as they endure fear and degradation before rising to save themselves. The lesson was not lost on the mainstream industry, which was soon turning out the formula in well-made thrillers.
Including a new preface by the author, this Princeton Classics edition is a definitive work that has found an avid readership from students of film theory to major Hollywood filmmakers.
- Sales Rank: #74670 in Books
- Published on: 2015-05-26
- Original language: English
- Number of items: 1
- Dimensions: 8.40" h x .70" w x 5.50" l, .0 pounds
- Binding: Paperback
- 280 pages
Review
"[A] brilliant analysis of gender and its disturbances in modern horror films. . . . Bubbling away beneath Clover's multi-faceted readings of slasher, occult, and rape-revenge films is the question of what the viewer gets out of them. . . . [She] argues that most horror films are obsessed with feminism, playing out plots which climax with an image of (masculinized) female power and offering visual pleasures which are organized not around a mastering gaze, but around a more radical "victim-identified' look."--Linda Ruth Williams, Sight and Sound
"Carol Clover's compelling [book] challenges simplistic assumptions about the relationship between gender and culture. . . . She suggests that the "low tradition' in horror movies possesses positive subversive potential, a space to explore gender ambiguity and transgress traditional boundaries of masculinity and femininity."--Andrea Walsh, The Boston Globe
"Clover makes a convincing case for studying the pulp-pop excesses of 'exploitation' horror as a reflection of our psychic times."--Misha Berson, San Francisco Chronicle
"Clover actually bothers (as few have done before) to go into the theaters, to sit with the horror fans, and to watch how they respond to what appears on screen."--Wendy Lesser, Washington Post
"In her reading of both particular horror films and of film and gender theory, Clover does what every cultural critic hopes to: she calls into question our habits of seeing."--Ramona Naddaff, Artforum
"Clover, takes the most extreme genre, horror flicks, seriously. There is no condescension in this significant and probing discussion of psychology and sexuality and their role in lurid fantasy."--Desmond Ryan, Philadelphia Inquirer
"Fascinating, Clover has shown how the allegedly naïve makers of crude films have done something more schooled directors have difficulty doing - creating females with whom male veiwers are quite prepared to identify with on the most profound levels"--The Modern Review
"It's easy to see why this book is considered such a landmark in film analysis."--Rod Lott, Flick Attack
From the Back Cover
Gender In The Modern Horror Film. Do the pleasures of horror movies really begin and end in sadism? So the public discussion of film assumes, and so film theory claims. Carol Clover argues, however, that these films work mainly to engage the viewer in the plight of the victim-hero - the figure, often a female, who suffers pain and fright but eventually rises to vanquish the forces of oppression.
About the Author
Carol J. Clover is the Class of 1936 Professor Emerita in the departments of rhetoric, film, and Scandinavian at the University of California, Berkeley. She is the author of The Medieval Saga.
Most helpful customer reviews
2 of 2 people found the following review helpful.
Darkly Rewarding
By kathari1349
This was a book that I read in its original release in 92, and I can say that I have found few analysis of the horror genre that is as engaging, and thought provoking as this. I would rank it along side some other exceptional works, such as Lovecraft's essay "Supernatural Horror In Literature". (Though, of course, the two address different artistic modes of the horror genre.)
Much academic discourse on film can come across as contrived and affected; often doctrinaire as well. But, Clover's tone is never comes across like that. Though, her language is academic, her approach is, in my opinion, more existential. She aims at not only intellectual analysis, but grapples with the visceral impact of images and moods invoked in these films.
Her feminist approach, in my opinion, enhances her dialogue, rather than hampers it. I found this refreshing, in that any kind of ideological commitment can sometimes compromise intellectual honesty. But, what Clover has to say goes beyond any bare, dogmatism, without compromising any integrity.
I was very pleased that in her new introduction she deals with something that I have observed myself. Namely, that the "Final Girl" concept has become somewhat distorted by pop-culture handling of it. Clover's original formulations on this were more ambivalent, and detailed, than the simple notion that the Final Girl was an unequivocally positive template. Though, she was one of the first authors to acknowledge that the generalized condemnation of the horror genre as misogynistic was a mistake, it did not prevent her from dealing with the real misogyny that does appear in the genre. And, yes, she did point out that the Final Girl focus of so many horror films was capable of generating empathy with the female character. But, these are only the broad outlines. The devil is in the details as they say, so I encourage any horror fan who has gotten to the know the Final Girl idea through second-hand sources, to buy this book, and get the real picture.
One thing that I would particularly like to point out here, is that Clover's area of academic expertise is the Norse Sagas, Germanic Myths, etc. I am of the opinion that the tragic, and gender themes of the Sagas helped her in appreciating certain nuances of horror films. I have often observed that many horror stories closely parallel tragic themes. And, in some cases, the dividing line between a horror story, and a tragedy is not always clear.
A great example would be Stephen King's "The Dead Zone". Though, there are certainly a great number of horrific images and ideas, the rendering of John Smith is that of a tragic hero. As well, when we look at past examples of great tragedies of the theater, we have the often terrifying images that occur in plays such as "Macbeth", with its pandemonium of blood, monstrous and haunting apparitions, and black nightmares.
As to the subject of gender, the Sagas present some worthy oddities, there as well. Though, profoundly misogynistic in many ways, the ancient Germanic legends, and the Norse myths also reflected a great deal of ambivalence about gender. More often than not, in its critical mode, the Norse Saga was apt to be more misanthropic than misogynistic. It should be recalled that the play "Hamlet" was modeled off a Norse legend of a Prince Amlethus. And, it is in from the mouth of Hamlet that we hear not only caustic condemnations of female character, ("frailty thy name is woman"), but equally damning appraisals of male character, ("We are errant knaves all; believe none of us.")
The only regret I have is the I really wish that Clover would release a new edition. Given what she had already written in the original, about the slasher genre in particular, it would be fascinating to see her take on the many changes in the genre. I would love to see her deal with the meta-movie idea, ushered in by the "Scream" franchise, and the other permutations that horror films have undergone.
At any rate, I say it again. If you're a horror fan, get this book; read it. You will come away with a enhanced appreciation for the genre, and the detailed themes it can invoke.
1 of 1 people found the following review helpful.
Intriguing insights into the horror movie genre
By Mr. Richard K. Weems
Holy frijoles, this book presents an intriguing view of gender challenges in the tradition of horror flicks. Though Clover's primary focus is on the 70s/80s era of slasher films, it's interesting to see her ideas still at play and even extended--that this book itself has helped evolve the horror genre. Maybe it hasn't evolved in the post positive of directions, but we ARE talking horror, people, and Clover's analyses lay a spectacular groundwork of gender challenges and sexual incapabilities that drive so many films. While her ideas about the Final Girl, the female who survives and sometimes even succeeds against the killer and represents the female victim of the movie viewers as well, is what put this book on the map, Clover also examines quite adeptly possession films, rape-revenge, and also the assaulting perspective of horror films. A fascinating read.
0 of 0 people found the following review helpful.
Four Stars
By Dod Ur Ovan
good read
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