Lisbeth Salander as “Final Girl” in the Swedish “Girl Who” Films

Ritzenhoff, Karen A.

doi:10.2307/j.ctv16755gn.7

Cited by 2 publications

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“…Lisbeth Salander utgör å ena sidan "the conventional male action hero", vilket jag tidigare nämnt, men å andra sidan kan hon också liknas vid "The Final Girl", den kvinna som blir den enda överlevande i skräck-och slasherfilmer. 18 Lisbeth klarar sig ju, trots allt hon går igenom -bland annat att bli både skjuten och begravd i den sista delen av trilogin. Carol J. Clover har i sin klassiska filmanalys av the Final Girl noterat hur gestalten efterhand under berättelsens gång utvecklar maskulina drag såsom aggression och attack, istället för feminina i stil med "crying, cowering, screaming, fainting, trembling, begging for mercy", vilket gör att den maskuliniserade kvinnan besegrar den feminiserade man som utgör mördaren.…”

Section: Män Som Hatar Kvinnorunclassified

"Män kan inte våldtas"?

Fjelkestam¹

2013

TfL

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”Manrape”? Märta Tikkanen, Stieg Larsson, and the Limits of Heteronormativity The central argument of this article originates in a rhetorical question: are female rapists ”men”? If legal discourse is brought to its heteronormative head, the answer is yes; however, this article aims to problematize the presumptions underlying this answer, and to consider the possibility of theorising rape in the absence of heteronormative limitations. My analysis involves two readings: Märta Tikkanen’s Manrape (Män kan inte våldtas, 1975) and Stieg Larsson’s The Girl with the Dragon Tattoo (Män som hatar kvinnor, 2005), two novels in Swedish which depict women raping their male rapists out of revenge. My conclusion is that the former novel eventually conforms to heteronormativity, while the latter does not. However, this does not imply that sexual power structures are erased in The Girl with the Dragon Tattoo. Rather, in this novel, power violations are viewed in terms of the broader issues of law, politics and economics. But what is then lost, on the other hand, is the specificity of female experience as it is represented in Manrape.

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Section: Män Som Hatar Kvinnorunclassified