OL13079895W Page_number_confidence 91.79 Pages 282 Partner Innodata Pdf_module_version 0.0.17 Ppi 360 Rcs_key 24143 Republisher_date 20220125065517 Republisher_operator Republisher_time 425 Scandate 20220120115540 Scanner Scanningcenter cebu Scribe3_search_catalog isbn Scribe3_search_id 9780851703312 Tts_version 4.So, I am only in chapter 3, and my change my view by the end of the author begins doing more research, but I am sneering a bit as she takes the bait and low polling result on the main audience to slasher films. Includes bibliographical references (pages 243-253) and indexĪccess-restricted-item true Addeddate 04:09:50 Associated-names British Film Institute Bookplateleaf 0010 Boxid IA40834304 Camera USB PTP Class Camera Collection_set printdisabled External-identifier Horror movies, she concludes, use female bodies not only for the male spectator to feel at, but for him to feel through It is the fraught relation between the "tough girl" of horror and her male fan that Clover explores. A paradox is that, since the late 1970s, the victim-hero is usually female and the audience predominantly male.
In this book Carol Clover argues that sadism is actually the lesser part of the horror experience and that the movies work mainly to engage the viewer in the plight of the victim-hero - the figure who suffers pain and fright but eventually rises to vanquish the forces of oppression.
According to that view, the power of films like Halloween and Texas Chain Saw Massacre lies in their ability to yoke us in the killer's perspective and to make us party to his atrocities.
Do the pleasures of horror movies really begin and end in sadism? So the public discussion of film assumes, and so film theory claims.
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