Animals in entertainment

Fennell, David A.; Coose, Sarah

doi:10.4324/9781003182351-17

Cited by 2 publications

(1 citation statement)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…In recent years, several horror films within the subgenre labelled as 'good for her' contextualize and demystify patriarchal violence directed toward women (primarily white, heterosexual, cisgender women) and offer a more advanced perspective on female rage and revenge, as well as a more complex depiction of female monstrosity (Heiemberger, 2022, p.8). Some of the films that fit into this category are featured in the video essay -Carrie (De Palma, 1976), Jennifer's body (Kusama, 2009), Pearl (West, 2022), Ready or not (Bettinelli-Olpin and Gillett, 2019), A girl walks home alone at night (Amirpour, 2014)-, to which could be added others such as The witch (Eggers, 2015) or Promising young woman (Fennell, 2020) (Stockton, 2022;Heimberger, 2022). The film Midsommar (Aster, 2019) is often framed within this label (Pfister 2022;Squires 2023), although this categorization can be problematic, as the protagonist ends up recruited into a cult.…”

Section: Written Statementmentioning

confidence: 99%

Angry women in horror: Challenging traditional notions of femininity

Álvarez-Vázquez

2024

Rev. Teknokultura

View full text Add to dashboard Cite

One of the major contributions to popular culture by feminist movements has been that of the figure of the angry woman in horror cinema. Although the expression of female rage challenges traditional notions of femininity and disassociates strength and power from masculinity, it also makes women to be portrayed as perverse and monstrous. With this videographic essay, I want, on the one hand, to show how the rage of women protagonists in horror has nevertheless recently been depicted as the complex emotion it is. On the other hand, this video essay proposes to emphasize the idea of rage as a site of political resistance that can be channelled into a productive form of social change and justice. To this end, I focus on a scene from Midsommar (Aster, 2019) in which a group of women reflect the protagonist’s emotions of rage and pain as a form of healing. Their cries connect to those of the women who in 1984 protested nuclear weapons in Greenham (England), weaponizing traditional notions of femininity to denounce an environmental injustice.

show abstract

Section: Written Statementmentioning

confidence: 99%