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Gwen

Posted on March 9, 2016

Post 9-11 Horror Films Reveal Collective Anxieties About Children

Gwen

I frequently reflect upon how certain cataclysmic historical events permeate our popular culture. Since the turn of the century, the most notable American historic events have included 9-11, the subsequent wars, Anthrax, hurricane Katrina, the rise of social media, and recession. As someone who loves horror films and who tirelessly tries to understand the American family, this article investigates how post 9-11 issues are reflected through the family in horror films. I chose to primarily focus on the Bush presidency years because it spans most of the first decade of the century.[i] Those years also witnessed a series of notable unfortunate events that undoubtedly reverberated through our culture through the end of the decade. I argue that in the first decade of the 21st century there was a rise in family horror films that surpasses previous decades. More interestingly, there was a surge in child antagonists who presented as more innately evil than ever before.[ii]The events after September 11th, 2001 undoubtedly impacted the way we view our homes and our children.

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Posted on February 29, 2016

Gwen’s Pick for the Final Woman: Sarah Logan

Gwen

As Women In Horror Month draws to an end, I wanted to bookend our discussion of the final girl with the character who, I feel, best depicts forward momentum. In order to see a clear trajectory I had to reflect upon Dawn’s discussion of Carol Clover and subsequently consider the criticisms mentioned by others such as BJ Colangelo and noted scholar Isabel Cristina Pinedo. [i] I agree that there are problematic components embedded within the final girl, much of which has to do with the assumption of male spectatorship. Nonetheless, I feel that there are positive representations of womanhood in recent horror film. Most notably, is the character Sarah Logan (played by Anne Ramsay) in The Taking of Deborah Logan (2014).

Sarah Logan is the last woman standing. Granted, The Taking of Deborah Logan is not a slasher, and Sarah Logan is not your stereotypical final girl. Regardless, Sarah Logan is the survivor: she meets the killer, takes it on, and defeats it (or so we hope). This is as far as Sarah Logan follows the formula Carol Clover laid out for the final girl. Sarah is a lesbian in a relationship who has temporarily left her lover in order to care for her ailing mother. What I love most about Sarah is that she is a realistic representation of womanhood. She is vulnerable; we see her struggle, trying to make financial ends meet while balancing her relationship with the nebulous task of managing her mother’s Alzheimer’s. Sarah is flawed, she is scared, uncertain, she drinks to manage her stress, and she sometimes needs help from others. Read more

Posted on February 17, 2016

Celebrating A Broader Picture of Women in Horror

Gwen

It has been said that horror involves too few and too negative stereotypes of women. In the years since Carol Clover’s 1992 book Men, Women, and Chainsaws, even the final girl has been criticized for limiting women’s role in horror. I feel that that there has been continuous growth in the industry’s representations of women. The female character is no longer an adornment to be draped over the shoulder of The Creature from The Black Lagoon (1954) or of an oversized gorilla. She does not exist simply to be saved. The following qualities of the present women of horror provide us with a better representation of the myriad of personalities that exist in real women. Rather than the simple formulaic final girls, these qualities reinforce ways of seeing women in horror and of appreciating horror’s growing audience of female spectators. Women are not one-dimensional: we are sometimes weak, strong, smart, silly, scared, simple, and maddeningly complex. Far from complete, this broader range of characteristics celebrates the fact that women in our favorite genre are more than just props, archetypes, or stereotypes. Looking beyond the big boobs, monstrous mommies, and less than virginal victims, women contain a multitude of characteristics that critics often minimize. There was no way I was limiting this list to ten and it’s our month so we are in charge. I hope you will all add some to our list to help us celebrate women in horror.

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Posted on February 5, 2016

Top Ten Infamous Female Characters

Gwen

As we all know by my history, I have trouble sticking to the rules. As usual I struggle to narrow my lists down to ten and I almost always have some genre jumpers. You will see that I stuck to American horror in order to set some useful limits for myself. As with any top ten list, this is completely subjective. I am listing in chronological order, some of the most memorable female antagonists that jump into my mind when I think of horror. My choices may not be the most remarkable for their leading roles, their murders, or their mayhem. Rather, they are true to the definition of infamous: well known for a bad quality or deed, disreputable, wicked, or abominable. No matter the size of their role, these women live in infamy in the dark corners of my mind.

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Posted on January 30, 2016

Keepin’ it in the Family: Death in Pet Sematary (1989)

Gwen

We take for granted how much we learn from our families. Through family, we learn about life, love, strength, absence, guilt, and death. Sociologists frequently categorize the family as a primary socialization group which builds the foundation for future navigation of the world around us. It is widely accepted that within our formative years, from birth to school age, as well as in our later life, we learn from observing this primary social group.[i] Albert Bandura’s Social Learning Theory suggests that we learn consequence and reward by seeing the results of actions manifest in the lives of those around us. Considering the family as a core teaching mechanism of behavior and cognition helps me understand the film Pet Sematary (1989) in a new way.

In this Short Cut, I want to briefly examine death with a special emphasis on one video clip in Stephen King’s timeless film, Pet Sematary. (WARNING: there are spoilers) The Creed family consists of Louis (Midkiff), Rachel (Crosby), Gage (Hughes), Ellie (Berdahl twins), and Church (played by 7 blue British shorthairs). The first death in the family is that of Churchill the cat. Louis tries to shelter his daughter, Ellie, from the loss by resurrecting him via the pet sematary. One after another, Louis holds on to rotting replicas of the family to dangerous ends, as Gage and Rachel are buried in the same sour ground as Church. Louis Creed’s inability to let go puts the family in escalating danger.

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