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And Halloween (2018) THE VIOLENCE OF GENDER (MIS)REPRESENTATION A COMPARISON BETWEEN HALLOWEEN (1978) AND HALLOWEEN (2018) Aantal woorden: 25 931 Céline De Block Studentennummer: 01503135 Promotor(en): Prof. dr. Marco Caracciolo Masterproef voorgelegd voor het behalen van de graad master in de Taal- en Letterkunde. Academiejaar: 2018 – 2019 Table of Content Introduction...................................................................................................................................................................... 3 Plot Summaries ................................................................................................................................................................ 5 Methodology .................................................................................................................................................................... 8 Quantitative Approach ..................................................................................................................................................... 9 A Story of Stereotypes .................................................................................................................................................... 12 The Male Monster, the Hero, and Horny Boyfriends ................................................................................................. 13 Michael Myers ........................................................................................................................................................ 13 Dr. Samuel Loomis .................................................................................................................................................. 17 The Boyfriends ........................................................................................................................................................ 20 The Blonde, the Bold and the Virgin........................................................................................................................... 23 Lynda Van der Klok ................................................................................................................................................. 24 Annie Brackett ........................................................................................................................................................ 25 Laurie Strode .......................................................................................................................................................... 28 The Final Girl................................................................................................................................................................... 30 The Other Girls ............................................................................................................................................................... 32 The Eye of the Hunter .................................................................................................................................................... 34 The Eye of the Hunted .................................................................................................................................................... 38 Quantitative approach ................................................................................................................................................... 39 A New Story .................................................................................................................................................................... 42 Male Monsters and Chatty Husbands ........................................................................................................................ 42 Michael Myers ........................................................................................................................................................ 42 Dr. Ranbir Sartain ................................................................................................................................................... 45 Ray Nelson .............................................................................................................................................................. 47 Cameron Elam ........................................................................................................................................................ 48 Three generations of Strode women ......................................................................................................................... 49 The Final Women ........................................................................................................................................................... 52 The Eyes of the Hunted Becoming the Hunter ............................................................................................................... 55 Conclusion ...................................................................................................................................................................... 57 Works Cited .................................................................................................................................................................... 62 Appendix ........................................................................................................................................................................ 66 Script Halloween (1978) ............................................................................................................................................. 66 Script Halloween (2018) ........................................................................................................................................... 101 25931 words 2 THE VIOLENCE OF GENDER (MIS)REPRESENTATION: A COMPARISON BETWEEN HALLOWEEN (1978) AND HALLOWEEN (2018) Introduction The Halloween movies have continued to constitute a leading cinema franchise for nearly four decades now. The first movie, released in 1978, left a huge impression on the horror film scene and is even said to have redefined the genre (Stone 3). More specifically, Halloween (1978) has indicated the birth of the “slasher film”, a new subgenre of horror movies that is particularly geared towards teenagers (Gill 16). The basic plotline of slashers has been described as follows: “Take a certain number of attractive high school or college age men and women and put them into a dark or shadowy place, then intrude into that erotic setting the presence of a maniac with a knife, an axe or a cleaver. Let the camera caress every shadow for as long as possible, while the young people caress each other until the killer kills – brutally, ingeniously, swiftly, spilling as much blood as possible” (Wolf 89). Slasher movies both build on the horror tradition and distinguish themselves from it. On the one hand, they subscribe to many of the typical characteristics of the gothic. They feature “defenseless heroines; suppressed passions; unspeakable desires; […] and jarring juxtapositions of the moral and the monstrous, the sexual and the grotesque, the virtuous and the violent” (Gill 16). Yet the values that slasher films portray are opposite to those of traditional horror movies. The key point of the traditional horror film, according to Robin Wood, was that the monster threatened bourgeois normality. The monster, as “a creature of the id”, could be seen as a protest against repression, and to quote Wood: “the threatened heroine was invariably associated with the values of monogamous marriage and the nuclear family” (82). In slasher movies, however, the opposite is true. “The women who are terrorized and slaughtered tend to be those who resist definition within the virgin-wife-mother framework” (Wood 82). Because of this, Wood explains that slasher movies have generally been understood as a reaction against 1960s and 1970s feminism (81). This interpretation of slashers presupposes a male audience which would enjoy a sadistic indulgence 3 in the violence against women who refuse to conform to the patriarchal idea of how women should behave (Wood 81). As a result, slashers have become the subject of a broad scholarly discussion on the alleged misogyny of the genre. Some critics go as far as to argue that violence against women is a defining factor of slashers, which they even nickname “violence-against-women movies”. Edward Donnerstein et al. is an example of a study that concluded that the violence of slasher films is “overwhelmingly directed at women” (The Question of Pornography, 113). Moreover, Donnerstein et al. believe slashers to be “sexually violent films”, claiming that the attacks that the women suffer often occur during or following scenes in which they were shown erotically (“Effects of Long-Term Exposure”, 759). Gloria Cowan and Margaret O’Brien, however, argue that this correlation between sex and violence is overestimated. Such scenes would simply be more noticeable, as viewers are more likely to remember women being killed in a sexualized context than men being murdered in a non-eroticized way (187). According to Janet Maslin, the slasher killer would even victimize men and women equally, noting that “murdering pretty young women excites him most, but he’s really not particular. He’ll gladly butcher anyone who gets in his way” (B-1). James Weaver, similarly, refers to Dickstein to argue that the alteration between male and female victims is necessary for the aesthetic of slasher films
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