Forever cursing Jordan Peele (and I think Carmen Maria Machado, though I haven’t read her yet) for making everyone think that they could add a dash of horror to spice up their middling plots.
I did quite enjoy The Invisible Man, though. It’s not that deep but its premise and jump scares were effective. I screamed at least once and that’s really all I ever ask for.
“Goodness is not relatable or aspirational under capitalism.” This would be an excellent theme for a gritty Cinderella reboot.
Also someone needs to figure out why third-wave feminist media is so afraid of killing men. Even in a horror movie where killing the villain should be the whole damn point. Are o ur imaginations so small that we cannot even conjure up a shadow of a Madea?
I think killing the man would require the protagonist to be a real character and not an empty shell for the audience to project themselves into, maybe. Killing Channing Tatum isn't just responding to the stimulus, running around and reacting to things that are happening. So it goes against the framework.
Also, as written about in Rape Revenge Films and Men Women & Chainsaws, the original rape revenge films were all written by men. The ones where the victims go on a rampage and do kill the men, like Carrie or Last House on the Left, it's more about a kind of unconscious fear that women would treat men the way men have treated women, or being unable to think of themselves as a victim so they need to project their abuses onto women characters. But the Carrie remake by a woman director sucked, so I'm not sure there's an answer there.
I can only think of two movies kind of in this genre where the male villain dies but I am not sure if one of them would count as "third wave" or even feminist. And they're both Little Red Riding Hood adaptations: Freeway with Reese Witherspoon and Hard Candy with pre-transition Eliot Page.
Forever cursing Jordan Peele (and I think Carmen Maria Machado, though I haven’t read her yet) for making everyone think that they could add a dash of horror to spice up their middling plots.
I did quite enjoy The Invisible Man, though. It’s not that deep but its premise and jump scares were effective. I screamed at least once and that’s really all I ever ask for.
“Goodness is not relatable or aspirational under capitalism.” This would be an excellent theme for a gritty Cinderella reboot.
Also someone needs to figure out why third-wave feminist media is so afraid of killing men. Even in a horror movie where killing the villain should be the whole damn point. Are o ur imaginations so small that we cannot even conjure up a shadow of a Madea?
I think killing the man would require the protagonist to be a real character and not an empty shell for the audience to project themselves into, maybe. Killing Channing Tatum isn't just responding to the stimulus, running around and reacting to things that are happening. So it goes against the framework.
Also, as written about in Rape Revenge Films and Men Women & Chainsaws, the original rape revenge films were all written by men. The ones where the victims go on a rampage and do kill the men, like Carrie or Last House on the Left, it's more about a kind of unconscious fear that women would treat men the way men have treated women, or being unable to think of themselves as a victim so they need to project their abuses onto women characters. But the Carrie remake by a woman director sucked, so I'm not sure there's an answer there.
I can only think of two movies kind of in this genre where the male villain dies but I am not sure if one of them would count as "third wave" or even feminist. And they're both Little Red Riding Hood adaptations: Freeway with Reese Witherspoon and Hard Candy with pre-transition Eliot Page.