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When the Final Girl is Not a Girl: Reconsidering the Gender Binary in the Slasher Film
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Trade Publication Article
When the Final Girl is Not a Girl: Reconsidering the Gender Binary in the Slasher Film
2015
Overview
[...]a pair of slasher films that do not possess a Final Girl will be examined in order to demonstrate that Clover’s methodology can still be utilized in these cases by decentralizing her focus on gender relations, in lieu of a relationship between the pre-symbolic abject and the symbolic. [...]even after we are aware that the monster is female, if we view the relationship between the monster and Final Girl as one between the pre-symbolic and the symbolic, Urban Legend’s structuralist framework still adheres to the Cloverian relationship. First is bisexuality, which “represents the most obvious and direct affront to the principle of monogamy and its supportive romantic myth of ‘the one right person’; the homosexual impulse in both men and women represents the most obvious threat to the ‘norm’ of sexuality as reproductive and restricted by the ‘ideal’ of family.” If this is the case, the question that must be posed to Benshoff’s interpretation is, if Freddy is the embodiment of Jesse’s internalized homophobia, why would he attempt to use Jesse to kill females? Because Freddy only partially emerges when Jesse is about to kill a female, and fully emerges to kill males for whom Jesse may be feeling homosexual urges, Freddy can be more accurately thought of as an embodiment of Jesse’s sexual confusion, which finds an allegory in bisexuality – the critical sexual energies that Wood argues is repressed by patriarchal capitalism.19 If this confusion is resultant of Jesse’s unstable sexual identity, it can be seen as indicative of his pre-symbolic status (as well as Freddy’s since he is the embodiment of this confusion) through his inability to articulate his sexual identity.
Publisher
Donato Totaro
