{"id":1441,"date":"2024-10-17T11:07:58","date_gmt":"2024-10-17T15:07:58","guid":{"rendered":"https:\/\/blogs.dickinson.edu\/403lit\/?p=1441"},"modified":"2024-11-05T11:52:42","modified_gmt":"2024-11-05T16:52:42","slug":"meta-ness-throughout-horror-and-thriller","status":"publish","type":"post","link":"https:\/\/blogs.dickinson.edu\/403lit\/2024\/10\/17\/meta-ness-throughout-horror-and-thriller\/","title":{"rendered":"Updated: Meta-ness Throughout Horror and Thriller"},"content":{"rendered":"

For a long time, I have been interested in how horror and thriller films have evolved through the lens of gender studies, especially the concept of the “final girl” introduced by Carol J. Clover. I want to focus on films from the 70s to the 90s, as well as those from the 2010s to today. I’m particularly drawn to the Alien (1979) franchise featuring Sigourney Weaver and the\u00a0 <\/span>Scream (1996) series, known for its meta moments and references to older films. l’ve also recently noticed a large amount of remakes and legacy sequels like Alien, Halloween (1978), and Scream. I find it fascinating to compare how technology and character perspectives have changed over the generations. I’m eager to explore these interests further and see what insights I can develop from them.<\/span><\/p>\n

When I made this reading list, I prioritized texts that would create a balance of historical perspective, contemporary theory, and in-depth analysis of gender, particularly as it connecte to horror. My hopes are to focus on how generational shifts in horror cinema reframe classic tropes like the “final girl” and explore the evolution of gender representation. Clover’s work Men, Women, and Chainsaws and her essay “Her Body, Himself” are important to grounding my research in gender studies within the slasher genre. Clover’s insights into the “final girl” trope will be invaluable for analyzing Ellen Ripley’s place in the Alien franchise, which is central to my project.<\/span><\/p>\n

I also think Stephen Scobie’s What’s the Story, Mother? specifically examines Ripley’s maternal role and the Alien franchise’s exploration of grief, gender, and trauma-topics that connect well with my focus on generational themes and horror’s capacity to engage with feminist discourse.<\/span><\/p>\n

Balanzategui, Jessica. \u201cThe Child and Adult Trauma in American Horror of the 1980s.\u201d\u00a0The Uncanny Child in Transnational Cinema: Ghosts of Futurity at the Turn of the Twenty-First Century<\/i>, Amsterdam University Press, 2018, pp. 35\u201366.<\/p>\n

Clover, Carol J. \u201cHer Body, Himself: Gender in the Slasher Film.\u201d\u00a0Representations<\/i>, no. 20, 1987, pp. 187\u2013228.<\/p>\n

Clover, Carol J.\u00a0Men, Women, and Chain Saws: Gender in the Modern Horror Film – Updated Edition<\/i>. REV-Revised, Princeton University Press, 1992.<\/p>\n

Craven, Wes. Scream<\/em>. Dimension Films, 1996.<\/p>\n

Gillet, Tyler. Scream<\/em>. Paramount Pictures, 2022.<\/p>\n

Pinedo, Isabel. \u201cRECREATIONAL TERROR: POSTMODERN ELEMENTS OF THE CONTEMPORARY HORROR FILM.\u201d Journal of Film and Video<\/i>, vol. 48, no. 1\/2, 1996, pp. 17\u201331.<\/p>\n

Terms:<\/span><\/p>\n