Throughout the 90’s, teen-centric slasher films were on the rise. The horror genre is one that continues to gain popularity and a majority of classic horror films have been receiving remakes that up the stakes and show the final girl in a more powerful position. One of the more recent, and creative, original slasher films to be released is the 2006 film All The Boys Love Mandy Lane. Right off the bat we meet Mandy Lane and we are shown just the boys in her high school sexualize her. We start at a pool party where the high school outcast Emmet convinces a classmate, who previously told Mandy “I want to see what color those panties are” as he tried to undress her, to jump off the roof. Following this deadly stunt we are transported to a year later, where we are told that Mandy is still virginal, Emmet is a bigger outcast and Mandy is
…show more content…
She is being raised by her aunt but otherwise she is alone. There is not mother figure present in this film, but like the others, the sexualization of women is extremely present. And while Emmet is revealed as the killer early on, its is the twist at the end that lets you know that horror has finally embraced the powerful female figure. In Men, Women, and Chainsaws, Clover explains that there has been developments in the portrayal of females in slasher films since the mid-1970s, mainly with the female hero. Filmmakers have finally given females more sovereignty and have let them become more ingenious and clever than those that came before them. “It is not only in their capacity as victims that these women appear in these films. They are, in fact, protagonists in the full sense: they combine the functions of suffering victim and avenging hero” (Clover, 1992, p. 17). Clover also explains that over the last twenty years, the traditional idea of masculinity does not account for much in a slasher film. The killer inescapably kills the men who insist on taking charge and becoming the
She is being raised by her aunt but otherwise she is alone. There is not mother figure present in this film, but like the others, the sexualization of women is extremely present. And while Emmet is revealed as the killer early on, its is the twist at the end that lets you know that horror has finally embraced the powerful female figure. In Men, Women, and Chainsaws, Clover explains that there has been developments in the portrayal of females in slasher films since the mid-1970s, mainly with the female hero. Filmmakers have finally given females more sovereignty and have let them become more ingenious and clever than those that came before them. “It is not only in their capacity as victims that these women appear in these films. They are, in fact, protagonists in the full sense: they combine the functions of suffering victim and avenging hero” (Clover, 1992, p. 17). Clover also explains that over the last twenty years, the traditional idea of masculinity does not account for much in a slasher film. The killer inescapably kills the men who insist on taking charge and becoming the