Men, Women, and Chain Saws Gender in the Modern Horror Film – Updated Edition
Men, Women, and Chain Saws: Gender in the Modern Horror Film – Updated Edition by Carol J. Clover, published by Princeton University Press on May 26, 2015, is a revised exploration of horror cinema’s evolution since the mid-1970s. This edition offers a fresh perspective on the genre, particularly focusing on slasher, occult, and rape-revenge films. Clover challenges the traditional view that these films cater solely to male audiences, instead revealing how they align viewers with the experiences of female characters, especially the “final girls” who confront and overcome their tormentors.
In this comprehensive analysis, readers will find an investigation into the cultural significance of horror films and their impact on gender representation. Clover’s work delves into the dynamics of fear and empowerment within these narratives, highlighting how the genre reflects broader societal themes. This updated edition, spanning 260 pages, includes a new preface that enriches the original text, making it relevant for both students of film theory and industry professionals. The book serves as a critical resource for those interested in the intersections of gender studies, media studies, and popular culture.
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From its first publication in 1992, Men, Women, and Chain Saws has offered a groundbreaking perspective on the creativity and influence of horror cinema since the mid-1970s. Investigating the popularity of the low-budget tradition, Carol Clover looks in particular at slasher, occult, and rape-revenge films. Although such movies have been traditionally understood as offering only sadistic pleasures to their mostly male audiences, Clover demonstrates that they align spectators not with the male tormentor, but with the females tormented—notably the slasher movie’s “final girls”—as they endure fear and degradation before rising to save themselves. The lesson was not lost on the mainstream industry, which was soon turning out the formula in well-made thrillers.
Including a new preface by the author, this Princeton Classics edition is a definitive work that has found an avid readership from students of film theory to major Hollywood filmmakers.
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