Notes from what I read: Difference between revisions
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Analysis of Guillermo del Toro's Crimson Peak | Analysis of Guillermo del Toro's Crimson Peak | ||
What is suggested here is that the real world and its social order are more threatening to a woman’s mind and body than the supernatural. | - What is suggested here is that the real world and its social order are more threatening to a woman’s mind and body than the supernatural. | ||
The real horror, del Toro suggests, are not the ghosts but patriarchy, because it traumatises women and turns them into ghosts and monsters. | - The real horror, del Toro suggests, are not the ghosts but patriarchy, because it traumatises women and turns them into ghosts and monsters. | ||
Whether the Final Girl is a symbol for female emancipation has been discussed since Clover’s publication of ‘Her Body, Himself’, the article that inspired her monograph of 1992. While she acknowledges that the slasher is ‘a genre with at least a strong female presence’, she clarifies that thinking of the ‘Final Girl as a feminist development […] is, in light of her figurative meaning, a particularly grotesque expression of wishful thinking’. This | - Whether the Final Girl is a symbol for female emancipation has been discussed since Clover’s publication of ‘Her Body, Himself’, the article that inspired her monograph of 1992. While she acknowledges that the slasher is ‘a genre with at least a strong female presence’, she clarifies that thinking of the ‘Final Girl as a feminist development […] is, in light of her figurative meaning, a particularly grotesque expression of wishful thinking’. This | ||
‘figurative meaning’ refers to Clover’s argument that: | ‘figurative meaning’ refers to Clover’s argument that: | ||
The Final Girl is boyish, in a word. Just as the killer is not fully masculine, she is not fully feminine. | - The Final Girl is boyish, in a word. Just as the killer is not fully masculine, she is not fully feminine. | ||
This gender transgression supposedly disqualifies the Final Girl from being an emancipatory figure within the rather misogynist slasher genre. | - This gender transgression supposedly disqualifies the Final Girl from being an emancipatory figure within the rather misogynist slasher genre. | ||
She might choose to not participate in established rituals of femininity, yet this does not masculinise her. As Christian Knöppler argues with reference to Isabel Cristina Pinedo’s criticism of Clover, ‘if a female character has to be read as male when she is aggressive, there can be no female agency’. | - She might choose to not participate in established rituals of femininity, yet this does not masculinise her. As Christian Knöppler argues with reference to Isabel Cristina Pinedo’s criticism of Clover, ‘if a female character has to be read as male when she is aggressive, there can be no female agency’. | ||
Revision as of 17:35, 6 August 2019
The Ghost is just a Metaphor - Kindinger Analysis of Guillermo del Toro's Crimson Peak
- What is suggested here is that the real world and its social order are more threatening to a woman’s mind and body than the supernatural.
- The real horror, del Toro suggests, are not the ghosts but patriarchy, because it traumatises women and turns them into ghosts and monsters.
- Whether the Final Girl is a symbol for female emancipation has been discussed since Clover’s publication of ‘Her Body, Himself’, the article that inspired her monograph of 1992. While she acknowledges that the slasher is ‘a genre with at least a strong female presence’, she clarifies that thinking of the ‘Final Girl as a feminist development […] is, in light of her figurative meaning, a particularly grotesque expression of wishful thinking’. This ‘figurative meaning’ refers to Clover’s argument that:
- The Final Girl is boyish, in a word. Just as the killer is not fully masculine, she is not fully feminine.
- This gender transgression supposedly disqualifies the Final Girl from being an emancipatory figure within the rather misogynist slasher genre.
- She might choose to not participate in established rituals of femininity, yet this does not masculinise her. As Christian Knöppler argues with reference to Isabel Cristina Pinedo’s criticism of Clover, ‘if a female character has to be read as male when she is aggressive, there can be no female agency’.