Ideology and gender discourse in slasher films 'Halloween' (1978) and 'Friday the 13th' (1980)

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Kimberley Thomson

Media and Communications

200707989

 

 

 

With reference to EITHER the science fiction OR the slasher movies listed in the module handbook, critically analyse them in terms of their ideology AND/OR their gender discourse. 

 

 

 

 

 

 

 

 

 

 

 

 

 

In order to analyse any slasher movie, we must first consider: what is a slasher?  The “slasher is not easily defined... It is a rogue genre, and like the films it encompasses it is tough, problematic and fiercely individualistic.  However, there are some distinctive and consistent elements which are prevalent in enough films that a workable, however malleable, definition of the slasher can be formed” (Rockoff, 2002: 5).  Benshoff and Griffin define the slasher as a “low-budget subgenre of the horror film... [which] usually features a knife-wielding maniac killing women and teenagers in various gruesome ways” (Benshoff and Griffin, :279).  Slasher films have been widely criticised for the gender discourses that are portrayed to their audiences.  Among the most famous and successful slasher films are Halloween (1978) and Friday the 13th (1980).  Although there are a range of slasher films which portray ideologies and gender discourse in Western culture, for the purpose of this essay I will focus solely on these two slashers to allow certain subjects of the genre to be explored in more depth and complexity.  I will critically analyse these films in terms of their gender discourse, while occasionally touching upon the ideological significance.  

The term ‘discourse’ is itself under dispute.  It is a critical term in linguistic analysis, signifying communicative practices which produce meaning.  It focuses on how language is extended to shape other aspects of culture- ways of thinking, talking, representing, doing and acting.  Casey defines discourse as “a particular sets of beliefs and attitudes which... embody cultural practices that function to shape the identities and actions of social participants” (
Casey, 2008:  80).  It is these practices together which actively shape our understanding of reality.  Within the confines of media studies, critical discourse analysis- a term first coined by Norman fairclough, signifying an approach to discourse that focuses on the ways in which power in society is reproduced by speech and various texts- is employed to make sense of the ways in which media convey meaning.  Such analyses are “able to open up questions concerning representation because discourses are always articulated from an ideological standpoint in that they present a particular (partial) view of social reality.  What is included and excluded in representation is, ultimately, determined through discourse” (2008: 81).  Wodak believes that where the structure of power is concerned, there are “interactional differences in style between women and men that are reinforced by socio-cultural practices and values quite removed from any obvious connection with language” (Wodak, 1997: 143).  Thus this essay will focus particularly on gender representation and power relations. 

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The shift from the 1970s to the 1980s saw continued change in Western culture.  The number of women working in high paying jobs was rising; homosexuality was becoming socially acceptable; and with male rock stars having the appearance of women- gender and sexuality was distorted and this reflected on popular culture.  With such political and social discourses we can see that the horror genre incorporated gender and sexuality differences in order to shock mainstream society.  One would argue that a hostile response against feminism is particularly evident in the horror genre and its subgenre- the slasher film.  As author Clover states: ...

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