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Men, Women, and Chain Saws: Gender in the Modern Horror Film - Paperback - GOOD
US $18.81
Condition:
Good
A book that has been read but is in good condition. Very minimal damage to the cover including scuff marks, but no holes or tears. The dust jacket for hard covers may not be included. Binding has minimal wear. The majority of pages are undamaged with minimal creasing or tearing, minimal pencil underlining of text, no highlighting of text, no writing in margins. No missing pages. See the seller’s listing for full details and description of any imperfections.
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eBay item number:255158521890
Item specifics
- Condition
- Brand
- Unbranded
- MPN
- Does not apply
- ISBN
- 9780691006208
- Subject Area
- Performing Arts
- Publication Name
- Men, Women, and Chain Saws : Gender in Modern Horror Film
- Publisher
- Princeton University Press
- Item Length
- 9.2 in
- Subject
- Film / Genres / Horror, Film / General, Film / History & Criticism
- Publication Year
- 1993
- Type
- Textbook
- Format
- Trade Paperback
- Language
- English
- Item Height
- 0.8 in
- Item Weight
- 14 Oz
- Item Width
- 6.1 in
- Number of Pages
- 272 Pages
About this product
Product Identifiers
Publisher
Princeton University Press
ISBN-10
0691006202
ISBN-13
9780691006208
eBay Product ID (ePID)
1005225
Product Key Features
Number of Pages
272 Pages
Language
English
Publication Name
Men, Women, and Chain Saws : Gender in Modern Horror Film
Subject
Film / Genres / Horror, Film / General, Film / History & Criticism
Publication Year
1993
Type
Textbook
Subject Area
Performing Arts
Format
Trade Paperback
Dimensions
Item Height
0.8 in
Item Weight
14 Oz
Item Length
9.2 in
Item Width
6.1 in
Additional Product Features
Intended Audience
College Audience
Reviews
"Fascinating, Clover has shown how the allegedly nave makers of crude films have done something more schooled directors have difficulty doing - creating females with whom male veiwers are quite prepared to identify with on the most profound levels" -- The Modern Review, "Fascinating, Clover has shown how the allegedly naïve makers of crude films have done something more schooled directors have difficulty doing - creating females with whom male veiwers are quite prepared to identify with on the most profound levels"-- The Modern Review, [A] brilliant analysis of gender and its disturbances in modern horror films. . . . Bubbling away beneath Clover's multi-faceted readings of slasher, occult, and rape-revenge films is the question of what the viewer gets out of them. . . . [She] argues that most horror films are obsessed with feminism, playing out plots which climax with an image of (masculinized) female power and offering visual pleasures which are organized not around a mastering gaze, but around a more radical "victim-identified' look., Carol Clover's compelling [book] challenges simplistic assumptions about the relationship between gender and culture. . . . She suggests that the "low tradition' in horror movies possesses positive subversive potential, a space to explore gender ambiguity and transgress traditional boundaries of masculinity and femininity., "Fascinating, Clover has shown how the allegedly nave makers of crude films have done something more schooled directors have difficulty doing - creating females with whom male veiwers are quite prepared to identify with on the most profound levels"-- The Modern Review, Fascinating, Clover has shown how the allegedly na ve makers of crude films have done something more schooled directors have difficulty doing - creating females with whom male veiwers are quite prepared to identify with on the most profound levels -- The Modern Review, Fascinating, Clover has shown how the allegedly naïve makers of crude films have done something more schooled directors have difficulty doing - creating females with whom male veiwers are quite prepared to identify with on the most profound levels, Fascinating, Clover has shown how the allegedly naïve makers of crude films have done something more schooled directors have difficulty doing - creating females with whom male veiwers are quite prepared to identify with on the most profound levels -- The Modern Review, [A] brilliant analysis of gender and its disturbances in modern horror films. . . . Bubbling away beneath Clover's multi-faceted readings of slasher, occult, and rape-revenge films is the question of what the viewer gets out of them. . . . [She] argues that most horror films are obsessed with feminism, playing out plots which climax with an image of (masculinized) female power and offering visual pleasures which are organized not around a mastering gaze, but around a more radical "victim-identified' look. -- Linda Ruth Williams, Sight and Sound, "Carol Clover's compelling [book] challenges simplistic assumptions about the relationship between gender and culture. . . . She suggests that the "low tradition' in horror movies possesses positive subversive potential, a space to explore gender ambiguity and transgress traditional boundaries of masculinity and femininity." --Andrea Walsh, The Boston Globe, Carol Clover's compelling [book] challenges simplistic assumptions about the relationship between gender and culture. . . . She suggests that the "low tradition' in horror movies possesses positive subversive potential, a space to explore gender ambiguity and transgress traditional boundaries of masculinity and femininity. -- Andrea Walsh, The Boston Globe, "[A] brilliant analysis of gender and its disturbances in modern horror films. . . . Bubbling away beneath Clover's multi-faceted readings of slasher, occult, and rape-revenge films is the question of what the viewer gets out of them. . . . [She] argues that most horror films are obsessed with feminism, playing out plots which climax with an image of (masculinized) female power and offering visual pleasures which are organized not around a mastering gaze, but around a more radical "victim-identified' look." --Linda Ruth Williams, Sight and Sound, "Carol Clover's compelling [book] challenges simplistic assumptions about the relationship between gender and culture. . . . She suggests that the "low tradition' in horror movies possesses positive subversive potential, a space to explore gender ambiguity and transgress traditional boundaries of masculinity and femininity."-- Andrea Walsh, The Boston Globe, Fascinating, Clover has shown how the allegedly naïve makers of crude films have done something more schooled directors have difficulty doing - creating females with whom male veiwers are quite prepared to identify with on the most profound levels -- "The Modern Review, "Fascinating, Clover has shown how the allegedly naïve makers of crude films have done something more schooled directors have difficulty doing - creating females with whom male veiwers are quite prepared to identify with on the most profound levels" -- The Modern Review, "[A] brilliant analysis of gender and its disturbances in modern horror films. . . . Bubbling away beneath Clover's multi-faceted readings of slasher, occult, and rape-revenge films is the question of what the viewer gets out of them. . . . [She] argues that most horror films are obsessed with feminism, playing out plots which climax with an image of (masculinized) female power and offering visual pleasures which are organized not around a mastering gaze, but around a more radical "victim-identified' look."-- Linda Ruth Williams, Sight and Sound
Dewey Edition
23
Illustrated
Yes
Dewey Decimal
791.436164
Synopsis
Do the pleasures of horror movies really begin and end in sadism? So the public discussion of film assumes, and so film theory claims. Carol Clover argues, however, that these films work mainly to engage the viewer in the plight of the victim-hero, who suffers fright but rises to vanquish the forces of oppression. Clover, a medievalist, had written extensively on the literature and culture of early northern Europe, especially the Old Norse sagas. From her expertise in formulaic narrative grew her interest in contemporary cinema, which is, after all, yet another form of oral storytelling. Men, Women, and Chain Saws investigated the appeal of horror cinema, in particular the phenomenal popularity of those "low" genres that feature female heroes and play to male audiences: slasher, occult, and rape-revenge films. Such genres seem to offer sadistic pleasure to their viewers, and not much else. Clover, however, argued the reverse: that these films are designed to align spectators not with the male tormentor, but with the female tormented--with the suffering, pain, and anguish that the "final girl," as Clover calls the victim-hero, endures before rising, finally, to vanquish her oppressor. The book has found an avid readership from students of film theory to major Hollywood filmmakers, and the figure of the final girl has been taken up by a wide range of artists, inspiring not just filmmakers but also musicians and poets., Do the pleasures of horror movies really begin and end in sadism? So the public discussion of film assumes, and so film theory claims. Carol Clover argues, however, that these films work mainly to engage the viewer in the plight of the victim-hero, who suffers fright but rises to vanquish the forces of oppression. Clover, a medievalist, had written extensively on the literature and culture of early northern Europe, especially the Old Norse sagas. From her expertise in formulaic narrative grew her interest in contemporary cinema, which is, after all, yet another form of oral storytelling.Men, Women, and Chain Sawsinvestigated the appeal of horror cinema, in particular the phenomenal popularity of those "low" genres that feature female heroes and play to male audiences: slasher, occult, and rape-revenge films. Such genres seem to offer sadistic pleasure to their viewers, and not much else. Clover, however, argued the reverse: that these films are designed to align spectators not with the male tormentor, but with the female tormented--with the suffering, pain, and anguish that the "final girl," as Clover calls the victim-hero, endures before rising, finally, to vanquish her oppressor. The book has found an avid readership from students of film theory to major Hollywood filmmakers, and the figure of the final girl has been taken up by a wide range of artists, inspiring not just filmmakers but also musicians and poets.
LC Classification Number
PN1995.9.H6
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- y***o (18)- Feedback left by buyer.Past monthVerified purchaseThis is an outstanding seller to deal with. Fair prices that are more than reasonable in this economy. The product is in better condition than described, a true value for my money. Packaged and shipped well shows seller has concern for the products he sells to arrive in excellent condition. The seller is friendly and communicates timely with his customers. I highly recommend this seller and would do business again anytime. Thank you.
- y***e (1005)- Feedback left by buyer.Past monthVerified purchaseCOVER TORN FROM SIDE OF PAGES BUT I WILL GLUE BACK! This is an outstanding seller to deal with. Fair prices that are more than reasonable in this economy. The product is in better condition than described, a true value for my money. Packaged and shipped well shows seller has concern for the products he sells to arrive in excellent condition. The seller is friendly and communicates timely with his customers. I highly recommend this seller and would do business again anytime. Thank you!
- s***t (535)- Feedback left by buyer.Past monthVerified purchaseThis is outstanding seller to deal with. Fair prices that are more than reasonable. The product is in better condition than described, a true value for my money. Packaged and shipped well shows seller has concern for the products they sell and arrives in excellent condition. The seller is very friendly and communicates well with customers. I highly recommend this seller and would do business again anytime without hesitation.
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- May 09, 2024
Excellent -- thank you.
Verified purchase: YesCondition: Pre-OwnedSold by: agnehal-2
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