Laurie Strode from Halloween is a final girl, but one that is saved by someone else also named Sam Loomis. On this basis, Tony Williams argues that, while s horror film heroines were more progressive than those of earlier decades, the gender change is done conservatively, and the final-girl convention cannot be regarded as a progressive one "without more thorough investigation. The fact that she is still alive at the end of the movie does not make her a victorious heroine. He notes that she does not conclude the film wholly victorious and is catatonic at the end of the film.
Williams also observes that Friday the 13th: The Final Chapter does not have a final girl, despite Trish Jarvis surviving at the end. Additionally, Williams notes that final girls often survive, but in the sequel they are either killed or institutionalized. A notable example is Alice Hardy who survives Friday the 13th only to be killed in the beginning of Friday the 13th Part 2 Derek Soles argues that the tragic destiny of such final girls represents an expression of patriarchal society where capable, independent women must either be contained or destroyed.
According to Clover, the final girl in many movies shares common characteristics: she is typically sexually unavailable or virginal , and avoids the vices of the victims like illegal drug use. She sometimes has a unisex name such as Avery, Chris, or Sidney. Occasionally the final girl will have a shared history with the killer. The final girl is the "investigating consciousness" of the film, moving the narrative forward and, as such, she exhibits intelligence, curiosity, and vigilance.
Another trope of slashers particularly in the s is "death by sex", where sex scenes are shortly followed by violence, with the participants being murdered in gruesome ways. Buffy is a cheerleader, a "beautiful blond" with a feminine first name, and "gets to have sex with boys and still kill the monster". One of the basic premises of Clover's theory is that audience identification is unstable and fluid across gender lines, particularly in the case of the slasher film. During the final girl's confrontation with the killer, Clover argues, she becomes masculinized through "phallic appropriation" by taking up a weapon, such as a knife or chainsaw , against the killer.
The phenomenon of the male audience having to identify with a young female character in an ostensibly male-oriented genre , usually associated with sadistic voyeurism , raises interesting questions about the nature of slasher films and their relationship with feminism. Clover argues that for a film to be successful, it is necessary for this surviving character to be female because she must experience abject terror, and many viewers would reject a film that showed abject terror on the part of a male. The terror has a purpose, in that the female, if she survives, is "purged" of undesirable characteristics, such as relentless pursuit of personal pleasure.
Certain films, like The Witch , can be said to subvert traditional expectations of a final girl. While the character Mari Collingwood in the original version of the film The Last House on the Left has been viewed as primarily a victim, the remake of the film portrays the Collingwood character as more aligned with the "final girl" archetype.
An early example of a "final girl" can be found in the film Black Christmas , where Jess Bradford , played by Olivia Hussey , is a well-developed character who refuses to back down against a series of more or less lethal male antagonists. Sally Hardesty from The Texas Chainsaw Massacre , created by Tobe Hooper and portrayed by Marilyn Burns , has been regarded as one of the earliest examples of the final girl trope. Tony Williams notes that Clover's image of supposedly progressive final girls are never entirely victorious at the culmination of a film nor do they manage to eschew the male order of things as Clover argues.
He holds up Strode as an example of this. She is rescued by a male character, Dr. Samuel Loomis , in the ending of Halloween. Before the release of Alien 3 , Clover identified Ellen Ripley from the Alien franchise as a final girl. Elizabeth Ezra continues this analysis for Alien Resurrection , arguing that by definition both Ripley and Annalee Call must be final girls, and that Call is the "next generation of Clover's Final Girl".
In Ezra's view, Call exhibits traits that fit Clover's definition of a final girl, namely that she is boyish, having a short masculine-style haircut, and that she is characterized by in Clover's words "smartness, gravity, competence in mechanical and other practical matters, and sexual reluctance" being a ship's mechanic who rejects the sexual advances made by male characters on the ship.
However, Ezra notes that Call fits the description imperfectly as she is a gynoid , not a human being. Christine Cornea disputes the idea that Ripley is a final girl, contrasting Clover's analysis of the character with that of Barbara Creed , who presents Ripley as "the reassuring face of womanhood". Cornea does not accept either Clover's or Creed's views on Ripley.
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While she accepts Clover's general thesis of the final girl convention, she argues that Ripley does not follow the conventions of the slasher film, as Alien follows the different conventions of the science fiction film genre. In particular, there is not the foregrounding in Alien , as there is in the slasher film genre, of the character's sexual purity and abstinence relative to the other characters who would be, in accordance with the final girl convention, killed by the film's monster "because" of this.
The science fiction genre that Alien inhabits, according to Cornea, simply lacks this kind of sexual theme in the first place, as it has no place in such "traditional" science fiction formats. The character Ginny Field from Friday the 13th Part 2 has often been viewed as an example of the trope.
The Last Final Girl – Book Review
Voorhees's authoritarian role to survive. Although circumstances necessitate this, she clearly uses her enemy's strategy to become a phallic mother herself. This posture really questions the positive image of the Final Girl. She's more resourceful than Alice and nearly upstages even Laurie Strode during the film's tense finale, wherein she brazenly dresses up as Jason's dead mother and starts barking orders at the confused serial killer.
Where the makers of its predecessor introduced Alice as she prepared cabins while dressed in denim jeans and a shapeless lumberjack shirt, the sequel's conventionally attractive lead is established immediately as combining masculine traits with feminine attributes.
Ginny exits a battered VW bug in a flowing fuchsia skirt and a low-cut t-shirt. Sarah Connor was a timid young woman for the most part in the first film, The Terminator.
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She learned of the Terminator from Kyle Reese, and that he had come for her. By the end of the film, when it was down to her versus the Terminator, she had become a tough-as-nails heroine, and defeated the Terminator by luring it into a hydraulic press, where she crushed it. By the second film, she had become a hardened warrior, in danger of losing her humanity. Kearney points to the character of Sidney Prescott in the Scream franchise.
One of the final girl stereotypes was that the final girl is supposed to be a virgin, but the Scream films challenged that by allowing Prescott to survive until the end — even after having sex. From Wikipedia, the free encyclopedia. For the film, see Final Girl film.
For the Constantine episode, see Final Girl Constantine. This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. Main article: Mari Collingwood. Main article: Jess Bradford. Main article: Sally Hardesty.
Main article: Laurie Strode. Main article: Ellen Ripley. Main article: Ginny Friday the 13th. Main article: Sarah Connor Terminator. Main article: Sidney Prescott.
Review: The Last Final Girl
Main article: Tree Gelbman. Scripps Senior Theses. Retrieved April 28, Princeton University Press. The New York Times. Retrieved October 24, University of Texas Press. Horror Films of the s, Volume 1. Bloomsbury Publishing USA. Bloody Disgusting.
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Her story is already a legend. Monster Vision: Halloween masks floating down that same river the kids jump into. But just as one slaughter is not enough for Billie Jean, our masked killer, one victory is not enough for Lindsay. Buy on Amazon. I must admit that the style—where scenes kept jumping around randomly exactly as if it were a movie, and very few chapter breaks—was tedious at first.
After about a quarter of the way through the novel though, I had adjusted somewhat and was able to read through more fluidly, knowing now what to expect. True to slasher movie form, Jones introduces many more characters to convolute the main plot, add sub-plots, and of course, provide extra bodies to magnify the body count.
What made this stand out was having one of the main characters, Izzy, explain the steps to final girl movies and sequels all throughout. Only a handful of the people in this novel have strong, memorable personalities. The few characters we needed to know were predictable when they supposed to be, and yet less so during surprise moments—keeping me on my feet, mentally. You just have to know when to die. Born and raised in Texas.
In Boulder, Colorado now. Into werewolves and slashers and zombies.
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