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Sherron Kean 056406 Edits Logo SHERRON Blood, Guts and Becoming: The Evolution of the Final Girl. Sherron Kean, B.A. (Hons). Submitted in fulfilment of the requirements for the degree of Doctorate of Philosophy. University of Tasmania May, 2016. "This thesis contains no material which has been accepted for a degree or diploma by the University or any other institution, except by way of background information and duly acknowledged in the thesis, and to the best of my knowledge and belief no material previously published or written by another person except where due acknowledgement is made in the text of the thesis, nor does the thesis contain any material that infringes copyright.” 11/05/2016 This thesis may be made available for loan and limited copying and communication in accordance with the Copyright Act 1968. 11/05/2016 ii Acknowledgments Thank you to my supervisor, Imelda Whelehan, for all her help and support, this certainly wouldn’t have been what it is without you. Also thank you for our weekly meetings and our chats about movies. My sincere gratitude and many thanks to Tony Simoes da Silva for his ongoing support and assistance throughout the everlasting editing process. My sincere thanks and appreciation to my mum, Kath, for listening and talking through every single idea I had. Also for sitting through countless horror films, even the ones that weren’t very enjoyable. Also, a thank you and deep appreciation to my ever-supportive partner who has been through this with me and who has read countless drafts and taken part in numerous conversations about this endeavour. I know it has been a struggle at times but we finally made it. iii Table of Contents Introduction: There Will Be Blood ......................................................................................................... 1 Chapter One. The Trouble with Final Girls: Critiques and Expansions on the Theory of the Final Girl. ........................................... 27 Chapter Two. The Continuing Trouble With Final Girls………………………………………………...50 Chapter Three. Blood, Pus, Viscera. Oh My!: The Importance of the Abject in the Construction of the Surviving Woman ................ 73 Chapter Four. Hero Time!: The Surviving Woman as Hero. ................................................................................... 103 Chapter Five. Women take centre stage: The importance of emotion and the centrality of women. ............................................ 133 Chapter Six: Women in Horror around the World. .......................................................................... 162 Conclusion: .................................................................................................................. 195 Filmography ................................................................................................................. 201 Bibliography ................................................................................................................ 210 iv Introduction: There Will Be Blood “The image of the distressed female most likely to linger in the memory is the image of the one who did not die: the survivor, or Final Girl.” -Carol J. Clover Men, Women and Chainsaws “They’re all the same. Some stupid killer stalking some big-breasted girl, who can’t act, who is always running up the stairs when she should be running out the front door. It’s insulting.” -Sidney Prescott Scream (1996) This thesis aims to re-evaluate the changing role and function of the Final Girl in horror film since 1974. This exploration demands both an understanding of horror film as a genre and the historical conditions that have shaped feminist and film critics’ responses to them. It also demands an understanding of the changing horror audience and the ways horror film responds to its own critics. Theory and film do not exist in a vacuum, theory comments on film, film comments on theory and film comments on itself. As the two quotations that open this chapter show there is an interconnectedness between them. The Carol Clover quotation demonstrates how films develop character types that become an integral part of the genre which in turn then becomes theorised as an essential element of the genre. The quotation from Scream (1996), and the Scream film in particular, demonstrate a film commenting on its own genre. Both film and theory influence the development of film: Clover’s identification of the Final Girl has led to the increasing prominence of the female survivor, as well as the development of this character away from her predictable and well-worn beginnings. Horror films draw extreme reactions from a wide assortment of people, from both fans who immerse themselves in the culture of horror and those opposed to it. However censorship boards and religious groups are, generally, the most potent of those in opposition. This has gone on since the infancy of film and in the 1930s in the USA during the Depression “a grassroots lobbying group, the Catholic Legion of Decency, denounced what it perceived as 1 Hollywood’s assault on traditional social and moral values in a perilous time.”1 Film, particularly those that show violence and/or sex, is held up as the cause for weakening society’s decency and moral correctness. This fear and restriction follows every innovation in visual entertainment: “film censorship follows different media, so at the turn of the century when film was invented it was censored, then when TV was invented in the 50s the censor followed it, so when video was invented it was inevitable that it was going to be censored.”2 It is not just the censor who impacts on what can and cannot be seen, like the Catholic Legion of Decency, censorship movements start with complaints by those within everyday society. The detractors of the horror film have not necessarily even seen the films they wish to have banned but react to the salacious posters or titles. Though horror films are not the only subjects of these censorship calls, they seem to attract the most vitriolic attacks. This became even more evident when videos came to be in circulation. Videos allowed people to watch what they liked, when they liked from the comfort of their own homes. Horror films are viewed as detrimental to society, underpinned by the idea that what we watch affects how we behave in the world. Horror generally deals in the darker underside of society, but with themes that often have resonance closer to home. Horror is often construed as a misogynistic genre that delights in the destruction of the female body because most of its portrayal of violence involves women. Vivian Sobchak writes “the horror film has been seen by many contemporary, psychoanalytically oriented, feminist scholars as a misogynist scenario elaborated within a patriarchal and heterosexual social formation and based on the male fear of female sexuality.”3 Due to the tendency to place women in the role of monster, as out of control and in need of being destroyed or as victims who die in a state of undress, with a male killer looming over them wielding a phallic weapon, it is usually perceived that women are not shown within horror films as anything other than destructive or weak. The view that horror films work as an expression of “a misogyny that is apparent in the killers, in the films and in the broader culture that supports the films”4 has led to horror films as being viewed as negative and complicit representations, as a way of turning violence against women into an accepted form of entertainment without criticism. These negative images found in horror often become the focus of critics, theorists and censors at the expense of the 1 R. Worland, The Horror Film: An Introduction (Oxford: Blackwell Publishing, 2007), 65. 2 Fear, Panic and Censorship, directed by D. Kenny (United Kingdom: Shashmedia, 2000), DVD. 3 V. Sobchak, “The Leech Woman’s Revenge: On the Dread of Ageing in a Low-budget Horror Film,” last accessed December 17, 2015, http://old.cinema.ucla.edu/women/sobchack/default.html. 4 P. Hutchings. The Horror Film (London: Routledge, 2004), 52. 2 more complex contexts in which they are presented. As the following brief history of the censorship and public reception of horror films will show, much of the opposition to horror is based on a lack of knowledge and taking the films at face value or by reputation only. The following discussion situates the contemporary horror film within its historical roots but also draws attention to the negative connotations that the genre elicits. As this thesis will show, horror can be viewed as a positive and complex genre, and one in which women feature as more than just victims; in fact they can operate as the active force of these films. Moreover, the Final Girl is a significant figure in these changes because she fulfils the roles of both survivor and hero within the horror narrative. She is more than just a victim within these films but someone who, eventually, stands up against the killer and repels or defeats him. The fear of horror films became more evident with the invention of video players. The technology of video players and cassettes created a new wave of panic. The newspaper played a crucial “role in the video panic and its attendant campaign for statutory control of the new medium.”5 Most newspaper articles commenting on the rise in availability of video player technology encouraged an atmosphere of fear and dread and promoted the new technology as a danger to children.6 These claims came largely from Britain, and newspapers claimed that these films corrupted, damaged and one particular newspaper
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