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Posted on February 3, 2016

Short Cuts: Morgan in Chains

Elizabeth Erwin

Perhaps because of my higher than usual comfort with horrific imagery, I’m usually not the best at anticipating what images will be labeled as triggering (a word I loathe but that’s for a separate post), and so my immediate reaction to this image as problematic was a surprise. Excited to be ahead of the curve for once, I immediately went to the interwebs to see how people were responding—only to be met with silence. It’s an obvious cliché but in this case the silence truly was deafening.

And so in today’s Short Cut, I want to spend a little time unpacking why I find the image troubling and posing a few questions I hope people will weigh in on. While I fully expect many will argue it is just one image and of little consequence, I truly believe that the popular culture we consume greatly influences our beliefs and perceptions, even if we aren’t fully aware of it.

I want to acknowledge from the outset that clearly this image does not exist within a vacuum. As viewers, we know that Morgan’s captivity is a consensual act negotiated between the two characters in an attempt to ward off The Wolves, who are violently attacking the community. We recognize that the intent of this moment is about subterfuge and not enslavement. For viewers in the moment, the distinction is clear.

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Posted on February 2, 2016

Short Cut: Carrie’s Final Girl and the Precariousness of Survival

Dawn Keetley

Carrie (Brian De Palma, 1976) is the quintessential horror film, opening with a scene that showcases one of its central themes: what is repressed inevitably gets unleashed.

The opening famously features Carrie (Sissy Spacek) getting her first period in the shower at gym (yes, we’re in the terrain of real horror here!). The other girls (of course) mock her, throwing pads and tampons and screaming at her to “Plug it up.” Carrie does “plug it up”—in all kinds of ways—and what she plugs up gets spectacularly released in blood and death on prom night.

The most compassionate of Carrie’s high school acquaintances, Sue (Amy Irving), survives the blood bath, however (perhaps because of her kindness)—becoming one of the first Final Girls of horror (arguably preceded only by Lila from Psycho [1960], Sally from The Texas Chain Saw Massacre [1974], and Jess from Black Christmas [1974]).

1. Carrie, ending, hand

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Posted on February 1, 2016

Win a TWD Prize Pack!

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In celebration of reaching our 1,000th follower on Twitter, Homeroom Horror is embarking on our first contest! If you’re a fan of The Walking Dead and are anxiously counting down to the midseason premiere, read on! Read more

Posted on January 31, 2016

The Final Girl, Part 1

Dawn Keetley

Horror Homeroom is running a series on the “Final Girl” for Women in Horror Month. We’ll be tweeting Final Girls daily and offering posts throughout the month about how people have conceptualized the Final Girl and how she’s evolved in horror film from about 1960 until now.

For this first post, I simply want to lay out how Carol J. Clover, the critic who coined the term, described the Final Girl, and to point out (very briefly) what came before—and thus how revolutionary the Final Girl was when she burst onto the scene.

At the risk of being reductive, prior to about 1960, women in the horror film were either powerful and (then) dead, or they survived only because they were rescued by men.

My favorite classic horror films, Thirteen Woman (David Archainbaud, 1932), Dracula’s Daughter (Lambert Hillyer, 1936), and Cat People (Jacques Tourneur, 1942), all feature powerful, hypnotic women who have few qualms about leaving a trail of bodies in their wake—and who all wield their gaze (always a mark of power in film) with devastating effect.

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Posted on January 30, 2016

Everest and Frozen: Exploring the Edges of Horror

Dawn Keetley

I watched Everest (Baltasar Kormákur, 2015) last night, and it got me thinking (again) about the boundaries of the horror genre. What makes a horror film? Why is Everest not considered a horror film? It’s called “adventure,” “biography,” “drama,” “disaster,” “survival,” “thriller”—but not horror.

The plot of Everest, which is based on the disastrous expeditions of 1996, certainly sounds like the plot of a horror film: a group of people treks off into an isolated and forbidding place and is beset by dangers, by a force that imperils all their lives. One by one, they succumb to horrible deaths, or struggle and barely survive, maimed and traumatized.

1. Everest climbers

Watching Everest, I certainly experienced the emotions of horror—the fear and dread that Brigid Cherry has argued is so crucial to the genre: “The function of horror,” she writes, is “to scare, shock, revolt or otherwise horrify the viewer.”[i] I felt not only fear but revulsion, something Noël Carroll has (like Cherry) proclaimed as central to horror. Late in the film, one of the climbers, Beck (Josh Brolin), is forced to spend the night on the mountain and wakes up with his hands ungloved, frozen and bloody, black and red—not really his hands at all anymore, although they are still attached to his body. (He later has to have them amputated.) This scene was so painful, it was almost unbearable for me to re-watch it in order to get the screenshot below.

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