"The Slumber Party Massacre series is the only horror franchise exclusively written and directed by women. In a genre so closely associated with gender representation, especially misogynistic sexual violence against women, this franchise serves as a case study in an alternative female gaze applied to a notoriously problematic form of media. The series arose as a satire of the genre from an explicitly feminist lesbian source only to be mediated through the exploitation horror production model, which emphasized female nudity and violence. The resulting films both implicitly and explicitly address feminist themes such as lesbianism, trauma, sexuality, and abuse while adhering to misogynistic genre requirements. Each film offers a unique perspective on horror from a distinctly female viewpoint, alternately upholding and subverting the complex gender politics of women in horror films."
"Identification can be read in a film text through the implied author and audience. Since most transgender films are created by cisgender authors for a cisgender audience, the point of identification is cisgender. Using the 1983 cult horror film Sleepaway Camp as a case study, I analyze how this point of identification leads to the film being constructed narratively and visually in line with a cisnormative ideology. The emotional response of fear prompted by the film is also in line with this ideology and contributes to negative attitudes and actions toward transgender people."
"The films of the New French Extremity have been reviled by critics but adored by fans and filmmakers. Known for graphically brutal depictions of sex and violence, the subgenre emerged from the French art-house scene in the late 1990s and became a cult phenomenon, eventually merging into the horror genre where it became associated with American torture porn. Decidedly French in flavor, the films seek to reveal the dark side of French society. This book provides an in-depth study of New French Extremity, focusing on such films as Trouble Every Day (2001), Irreversible (2002), Twentynine Palms (2003), High Tension (2003) and Martyrs (2008). The author explores the social implications of cinematic cruelty presented not as "violent films" but as "films about violence.""
"Paul Etheredge-Ouzts's 2004 film Hellbent identifies itself as the first "all gay slasher film" and has, subsequently, been identified as a queer film. While many scholars consider the horror genre to have decidedly queer potential, this essay argues that, despite being a "gay film," Hellbent refuses the oppositional and political implications of queerness. Reading both the film text itself and a number of promotional "extra-texts," this essay identifies a strategy of rhetorical ambivalence that simultaneously asserts and disavows queer practices and pleasures."
"Slasher films, a popular and lucrative sub-genre of horror movie, are often thought to be characterized by violence, gratuitous sexual content and specific, repetitive tropes; however, although these tropes have been widely discussed and even parodied, there is scant research examining their validity. Thirty top-grossing slasher films (10 each for the 1980s, 1990s and 2000s) were subjected to content analysis at the level of the individual character to examine the factors associated with character deaths or survival. Characters who were shown nude on screen, who dressed in a revealing fashion, who did not engage in fight behaviors against the antagonist and who engaged in fewer types of pro-social behaviors were more likely to be killed. Several common tropes of slasher films (e.g., virgins survive, ethnic minority characters die) were not supported. The implications of these messages of which characters are depicted as “deserving” of survival are discussed in terms of gender, sexual scripts, and agency."