Evolution of the Final Girl: Exploring Feminism and Femininity in
Halloween (1978) and the Original Final Girl. The beginning sequence of Halloween places us in the point of view of Michael Myers, so that we see everything unfold exclusively through his eyes. The erratic movements of the. handheld camera mimic his footsteps as he approaches the house, and his heavy breathing.
Complex Female Agency, the "Final Girl" trope, and the Subversion and
This research explores gender representation in horror films through a detailed analysis of the archetype of the "final girl" to see whether she could be a source of power and agency for female audiences. Contemporary research has often disregarded the impact of horror films in shaping stereotypes.
Introduction: Reimagining the Final Girl in the Twenty-First Century
Abstract. The aim of this chapter is to examine the significance of Carol J. Clover's concept of the Final Girl and its connections to twenty-first-century feminism. This chapter expands research on the Final Girl trope by complicating the celebratory storylines of the figure à la Girl Power, which proliferated in the late 1990s and 2000s ...
Final Girls, Feminism and Popular Culture
Carol Clover first identified the Final Girl in her influential 1990s work on the horror/slasher film, and the editors begin this volume with a richly researched introduction that traces the use of that scholarship to support shifting and, at times, competing feminist perspectives on popular culture. The essays that follow continue what becomes ...
The New Final Girl Shares Her Trauma
Abstract. Kyle Green and Kelsey Berry on the real fears behind scary movies. At some point you've probably encountered the "Final Girl.". You know, that standard horror movie trope where the main character, a teenage cisgender White girl, survives because of her virtue and purity while the monster of the moment picks off her more ...
Introduction: Reimagining the Final Girl in the Twenty-First Century
The aim of this chapter is to examine the significance of Carol J. Clover's concept of the Final Girl and its connections to twenty-first-century feminism. This chapter expands research on the ...
Final girls, feminism and popular culture
of the Final in expanding the discussion of tropes that transcend the slasher form in the twenty-first century. The contributors to this analyze how the sociocultural context has contributed to the proliferating images of the Final Girl, elucidating our understanding of contemporary feminism. By exploring the role that media and literature play in reconsiderations of the Final Girl, this ...
Evolution of the Final Girl: Exploring Feminism and Femininity in
Decades of horror film research and theorizations have shown us that there is a reason why this particular genre has been an important part of film history from the beginning: namely, the idea that horror both reflects and shapes our historically and culturally specific anxieties. By examining the Final Girl trope in Halloween (the 1978 original versus 2018 version), this paper traces the ...
Introduction: Reimagining the Final Girl in the Twenty-First Century
The aim of this chapter is to examine the significance of Carol J. Clover's concept of the Final Girl and its connections to twenty-first-century feminism. This chapter expands research on the Final Girl trope by complicating the celebratory storylines of the figure a la Girl Power, which proliferated in the late 1990s and 2000s, addressing the ways in which these powerful characters ...
Project MUSE
Revisiting the Final Girl Looking Backwards, Looking Forwards. Katarzyna Paszkiewicz (bio) and Stacy Rusnak (bio) Autumn of 2017 marks thirty years since the publication of Carol J. Clover's "Her Body, Himself: Gender in the Slasher Film." The most enduring premise of this essay—which was originally included in the special issue Misogyny ...
Modern Horror Film and the Evolution of the 'Final Girl'
Much of the movie focuses on showing the "final girl" in fear, and the climactic scenes of the film show her screaming as she is beaten, tortured, and chased by the male killer (38). It is her victimhood that encourages her to become a hero in the end. Since the publication of much of this research, writers of horror movies have continued
Revisiting the Final Girl Looking Backwards, Looking Forwards
These contemporary reformulations of the Final Girl in film, TV, fan blogs, and literature confirm the pervasiveness and flexibility of the trope, as well as the need to expand discussion of Clover's framework beyond the traditional ruminations of the slasher subgenre that have been so central to most of research to date. While the Final Girl ...
The Revolution of the Final Girl: Feminism and Gender Stereotypes
Jess Bradford continues to contradict the gender stereotypes of the '70s with her fierce independence, loyalty to her female friends, and her determination. Mehls (2015) argues that throughout the '70s women were putting themselves out there to prove that they could do anything that men could do. There was a lack of balance when it came to ...
The Final Girl: more than a trope
She began her further research by thinking about how women are represented within horror movies, and more specifically the subgenre of slasher films. ... In her paper, she explores the Final Girl trope throughout the Halloween franchise and how Laurie Strode is brought back to fight the same monster in a cycle of traumatic situations. "Cycles ...
Last of the Final Girls? It Follows and Postfeminism
Applying a feminist psychoanalytic framework to analyse low budget horror subgenres, Clover's work is routinely summated through her theory of the 'final girl', characterising the archetypal slasher film protagonist as female, virginal, and the last one standing to defeat the killer.
Final Girl: Analysis of the Slasher Film Trope
The main purpose of this paper is to offer insight into the Final Girl trope and its on-going conventions. The aim was to analyse the evolution of the Final Girl trope on the basis of three following slasher films - John Carpenter's Halloween (1978), Wes Craven's Scream (1998), and Adam Wingard's You're Next (2011). Less.
The Representation of Women in Horror: the Final Girl Trope
In Scream (1996, Craven) , Wes Craven's masterpiece and love letter to slasher films, Sydney Prescott represents the final girl to a tee. She is beaten, abused, taken advantage .off and stil rises to the top, defeating Ghostface, the main villain, who is (spoiler alert) two idiotic teenage boys with an obsession with horror films. The ...
Final Girl: Analysis of the Slasher Film Trope
This paper focuses on the analysis of the ongoing conventions of the Final Girl trope based on three following slasher films: Halloween (1978), Scream (1996) and You're next (2011) and their individual Final Girl. This research aims to deconstruct the structure of the three slasher films to offer insight into the Final Girl trope, its presence ...
Complex Female Agency, the "Final Girl" trope, and the Subversion and
This research explores gender representation in horror films through a detailed analysis of the archetype of the "final girl" to see whether she could be a source of power and agency for female audiences. Contemporary research has often disregarded the impact of horror films in shaping stereotypes. In recent years, feminist film theory studies of horror films focused predominantly on ...
The "Final Girl": A Deep Dive Into the Origins and Evolution of Horror
The "Final Girl" refers to the sole survivor of a sadistic killer in a horror movie and has been an evolving theme in the genre since the 1970s. Traditionally, the Final Girl represented the one woman who, defying all odds, defeated her deranged attacker, overcame loss, and walked away with her own battle wounds, both physical and ...
Women in Horror: The longstanding issues with the final girl trope
She is far too busy drinking, partying, being a nuisance to the main character, and aiming to get laid by either her boyfriend or a potential lover in the group. She is often graced with the ...
Final Girl Research Papers
The Texas Chain Saw Massacre (Tobe Hooper, 1974) presents a nightmarish vision of an America, metaphorically and literally devouring itself. 'Home, sweet, home' becomes the slaughterhouse and consumers become the consumed as 'cannibalistic capitalism' (embodied by a family of unemployed but murderous abattoir workers), wreaks havoc on the lives of a hedonistic group of youths, as the ...
Complex Female Agency, the "Final Girl" trope,
Abstract. Translate. This research explores gender representation in horror films through a detailed analysis of the archetype of the "final girl" to see whether she could be a source of power and agency for female audiences. Contemporary research has often disregarded the impact of horror films in shaping stereotypes.
Title page setup
Place one double-spaced blank line between the paper title and the author names. Center author names on their own line. If there are two authors, use the word "and" between authors; if there are three or more authors, place a comma between author names and use the word "and" before the final author name. Cecily J. Sinclair and Adam Gonzaga
Raygun, The Australian Breakdancer In The Olympics: Explained
Aussie breaker Rachael Gunn, known as B-girl Raygun, took the internet by storm after her brief but memorable time on stage at the Paris 2024 Olympics. In head-to-head battles against b-girls from ...
Raygun, who scored zero in Olympic breaking, embraced by Australians
But it was Raygun, an Olympic B-girl who finished far from the podium, who had the most viral moment. Rachael Gunn, a.k.a. Raygun, lost her three round-robin breaking battles Friday by scores of ...
Olympic triumph to torment for Indian wrestler who led anti-sexual
An Olympic story of hope and perseverance quickly turned to one of heartbreak after an Indian wrestler known for her role in anti-sexual harassment protests was disqualified from the gold medal ...
Raygun: Australian breaker earns mixed reviews, praised for 'courage
Gunn - also known as B-girl Raygun, or simply Raygun - is a 36-year-old university lecturer from Sydney, Australia, who balances her day job with her breakdance career, competing at events ...
IMAGES
COMMENTS
Halloween (1978) and the Original Final Girl. The beginning sequence of Halloween places us in the point of view of Michael Myers, so that we see everything unfold exclusively through his eyes. The erratic movements of the. handheld camera mimic his footsteps as he approaches the house, and his heavy breathing.
This research explores gender representation in horror films through a detailed analysis of the archetype of the "final girl" to see whether she could be a source of power and agency for female audiences. Contemporary research has often disregarded the impact of horror films in shaping stereotypes.
Abstract. The aim of this chapter is to examine the significance of Carol J. Clover's concept of the Final Girl and its connections to twenty-first-century feminism. This chapter expands research on the Final Girl trope by complicating the celebratory storylines of the figure à la Girl Power, which proliferated in the late 1990s and 2000s ...
Carol Clover first identified the Final Girl in her influential 1990s work on the horror/slasher film, and the editors begin this volume with a richly researched introduction that traces the use of that scholarship to support shifting and, at times, competing feminist perspectives on popular culture. The essays that follow continue what becomes ...
Abstract. Kyle Green and Kelsey Berry on the real fears behind scary movies. At some point you've probably encountered the "Final Girl.". You know, that standard horror movie trope where the main character, a teenage cisgender White girl, survives because of her virtue and purity while the monster of the moment picks off her more ...
The aim of this chapter is to examine the significance of Carol J. Clover's concept of the Final Girl and its connections to twenty-first-century feminism. This chapter expands research on the ...
of the Final in expanding the discussion of tropes that transcend the slasher form in the twenty-first century. The contributors to this analyze how the sociocultural context has contributed to the proliferating images of the Final Girl, elucidating our understanding of contemporary feminism. By exploring the role that media and literature play in reconsiderations of the Final Girl, this ...
Decades of horror film research and theorizations have shown us that there is a reason why this particular genre has been an important part of film history from the beginning: namely, the idea that horror both reflects and shapes our historically and culturally specific anxieties. By examining the Final Girl trope in Halloween (the 1978 original versus 2018 version), this paper traces the ...
The aim of this chapter is to examine the significance of Carol J. Clover's concept of the Final Girl and its connections to twenty-first-century feminism. This chapter expands research on the Final Girl trope by complicating the celebratory storylines of the figure a la Girl Power, which proliferated in the late 1990s and 2000s, addressing the ways in which these powerful characters ...
Revisiting the Final Girl Looking Backwards, Looking Forwards. Katarzyna Paszkiewicz (bio) and Stacy Rusnak (bio) Autumn of 2017 marks thirty years since the publication of Carol J. Clover's "Her Body, Himself: Gender in the Slasher Film." The most enduring premise of this essay—which was originally included in the special issue Misogyny ...
Much of the movie focuses on showing the "final girl" in fear, and the climactic scenes of the film show her screaming as she is beaten, tortured, and chased by the male killer (38). It is her victimhood that encourages her to become a hero in the end. Since the publication of much of this research, writers of horror movies have continued
These contemporary reformulations of the Final Girl in film, TV, fan blogs, and literature confirm the pervasiveness and flexibility of the trope, as well as the need to expand discussion of Clover's framework beyond the traditional ruminations of the slasher subgenre that have been so central to most of research to date. While the Final Girl ...
Jess Bradford continues to contradict the gender stereotypes of the '70s with her fierce independence, loyalty to her female friends, and her determination. Mehls (2015) argues that throughout the '70s women were putting themselves out there to prove that they could do anything that men could do. There was a lack of balance when it came to ...
She began her further research by thinking about how women are represented within horror movies, and more specifically the subgenre of slasher films. ... In her paper, she explores the Final Girl trope throughout the Halloween franchise and how Laurie Strode is brought back to fight the same monster in a cycle of traumatic situations. "Cycles ...
Applying a feminist psychoanalytic framework to analyse low budget horror subgenres, Clover's work is routinely summated through her theory of the 'final girl', characterising the archetypal slasher film protagonist as female, virginal, and the last one standing to defeat the killer.
The main purpose of this paper is to offer insight into the Final Girl trope and its on-going conventions. The aim was to analyse the evolution of the Final Girl trope on the basis of three following slasher films - John Carpenter's Halloween (1978), Wes Craven's Scream (1998), and Adam Wingard's You're Next (2011). Less.
In Scream (1996, Craven) , Wes Craven's masterpiece and love letter to slasher films, Sydney Prescott represents the final girl to a tee. She is beaten, abused, taken advantage .off and stil rises to the top, defeating Ghostface, the main villain, who is (spoiler alert) two idiotic teenage boys with an obsession with horror films. The ...
This paper focuses on the analysis of the ongoing conventions of the Final Girl trope based on three following slasher films: Halloween (1978), Scream (1996) and You're next (2011) and their individual Final Girl. This research aims to deconstruct the structure of the three slasher films to offer insight into the Final Girl trope, its presence ...
This research explores gender representation in horror films through a detailed analysis of the archetype of the "final girl" to see whether she could be a source of power and agency for female audiences. Contemporary research has often disregarded the impact of horror films in shaping stereotypes. In recent years, feminist film theory studies of horror films focused predominantly on ...
The "Final Girl" refers to the sole survivor of a sadistic killer in a horror movie and has been an evolving theme in the genre since the 1970s. Traditionally, the Final Girl represented the one woman who, defying all odds, defeated her deranged attacker, overcame loss, and walked away with her own battle wounds, both physical and ...
She is far too busy drinking, partying, being a nuisance to the main character, and aiming to get laid by either her boyfriend or a potential lover in the group. She is often graced with the ...
The Texas Chain Saw Massacre (Tobe Hooper, 1974) presents a nightmarish vision of an America, metaphorically and literally devouring itself. 'Home, sweet, home' becomes the slaughterhouse and consumers become the consumed as 'cannibalistic capitalism' (embodied by a family of unemployed but murderous abattoir workers), wreaks havoc on the lives of a hedonistic group of youths, as the ...
Abstract. Translate. This research explores gender representation in horror films through a detailed analysis of the archetype of the "final girl" to see whether she could be a source of power and agency for female audiences. Contemporary research has often disregarded the impact of horror films in shaping stereotypes.
Place one double-spaced blank line between the paper title and the author names. Center author names on their own line. If there are two authors, use the word "and" between authors; if there are three or more authors, place a comma between author names and use the word "and" before the final author name. Cecily J. Sinclair and Adam Gonzaga
Aussie breaker Rachael Gunn, known as B-girl Raygun, took the internet by storm after her brief but memorable time on stage at the Paris 2024 Olympics. In head-to-head battles against b-girls from ...
But it was Raygun, an Olympic B-girl who finished far from the podium, who had the most viral moment. Rachael Gunn, a.k.a. Raygun, lost her three round-robin breaking battles Friday by scores of ...
An Olympic story of hope and perseverance quickly turned to one of heartbreak after an Indian wrestler known for her role in anti-sexual harassment protests was disqualified from the gold medal ...
Gunn - also known as B-girl Raygun, or simply Raygun - is a 36-year-old university lecturer from Sydney, Australia, who balances her day job with her breakdance career, competing at events ...