The Slasher Film and the Final Girl Get Makeovers: It Follows and the Politics of Fourth Wave Feminism

Rusnak, Stacy

doi:10.1007/978-3-030-31523-8_6

Final Girls, Feminism and Popular Culture 2020

DOI: 10.1007/978-3-030-31523-8_6

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The Slasher Film and the Final Girl Get Makeovers: It Follows and the Politics of Fourth Wave Feminism

Stacy Rusnak

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Cited by 2 publications

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Male Monsters Still Stalk, Yet More Violent: A Comparative Analysis of Original Slasher Films and Their Remakes

Hernández‐Santaolalla

Raya

2021

Sexuality & Culture

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Since its origins in the mid-1970s, the slasher has been defined as a subgenre of horror in which a serial or mass killer stalks and massacres middle-class youngsters, and preferably attractive young women, using cutting weapons or projectiles. In that regard, the twenty-first century has seen a revival of the slasher, combining the release of original movies with remakes of classic films, adapting the traditional plots to the current context. In this paper, a comparative content analysis is performed on 13 slasher films made during the 1970s and the 1980s and 13 remakes premiered in the new millennium, focusing on the differences stemming from the adaptation of the latter to the new sociocultural context. The results indicate that, although there have been a number of changes, such as higher doses of explicit violence and profanity and in the fight responses of the victims, most of the subgenre’s defining traits have remained intact, whereas others, such as those relating to the defining traits of the victims, should be questioned. The limited differences found between the original films and the remakes provide the basis for drawing interesting conclusions about the subgenre itself, as well as to raise discussions about the different contexts of production and reception.

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Male Monsters Still Stalk, Yet More Violent: A Comparative Analysis of Original Slasher Films and Their Remakes

Hernández‐Santaolalla

Raya

2021

Sexuality & Culture

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Reclaiming the Abject: Witchcraft and the Sacrificial Femininity in Suspiria

Burnsed¹

2022

Film Matters

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Witchcraft has long been associated with expressions of femininity and womanhood. Suspiria, both 1977 and 2018 versions, provide vivid pictures of female bodies as sacrificial bodies bound and restrained by notions of monstrous femininity. The focus on the occult creates spaces wherein female characters find strength and healing through both displays of independence and interconnectedness to other women. These films, read through second- and third-wave feminisms, reveal the struggle to assert female empowerment in a male-dominated world.

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The Slasher Film and the Final Girl Get Makeovers: It Follows and the Politics of Fourth Wave Feminism

Cited by 2 publications

References 15 publications

Male Monsters Still Stalk, Yet More Violent: A Comparative Analysis of Original Slasher Films and Their Remakes

Male Monsters Still Stalk, Yet More Violent: A Comparative Analysis of Original Slasher Films and Their Remakes

Reclaiming the Abject: Witchcraft and the Sacrificial Femininity in Suspiria

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