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Women in horror: the revenge Women in horror: the revenge
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If you’ve seen any horror movie or TV show, you know that women play a pretty prominent role: the victim.If you’ve seen any horror movie or TV show, you know that women play a pretty prominent role: the victim.
We see them waiting for a man to save them, we see them running, bloodied and terrified, we see them tied and cut up, and we see them completely powerless at the hands of murderers. And while some movies flip the genre – and its gender roles – on its head (Rosemary’s Baby, Carrie, Alien and Scream 4 to name a few), up until recently, the most terrifying thing about women in horror was that they were doomed to follow tired, formulaic storylines. That is, until 2014.We see them waiting for a man to save them, we see them running, bloodied and terrified, we see them tied and cut up, and we see them completely powerless at the hands of murderers. And while some movies flip the genre – and its gender roles – on its head (Rosemary’s Baby, Carrie, Alien and Scream 4 to name a few), up until recently, the most terrifying thing about women in horror was that they were doomed to follow tired, formulaic storylines. That is, until 2014.
As if writers, directors and creators finally watched what we’ve been forced to, this year has ushered in an era of female villains so interesting and multidimensional that they warrant regular analysis, discussion and debate (finally). As Gone Girl’s Amy Dunne has emerged as a multifaceted, complicated sociopath (and inspired countless essays about her role as a modern-day femme fatale), American Horror Story was just renewed for a fifth season after breaking FX records with its season premiere last week. Even Annabelle – a movie about a possessed doll who cries the blood of her victims – has been jokingly referred to as the genre’s new “It Girl” after exceeding box office expectations, despite not-so-hot reviews.As if writers, directors and creators finally watched what we’ve been forced to, this year has ushered in an era of female villains so interesting and multidimensional that they warrant regular analysis, discussion and debate (finally). As Gone Girl’s Amy Dunne has emerged as a multifaceted, complicated sociopath (and inspired countless essays about her role as a modern-day femme fatale), American Horror Story was just renewed for a fifth season after breaking FX records with its season premiere last week. Even Annabelle – a movie about a possessed doll who cries the blood of her victims – has been jokingly referred to as the genre’s new “It Girl” after exceeding box office expectations, despite not-so-hot reviews.
And then there’s The Walking Dead, a series that constantly challenges gender convention through strong female characters like Maggie (who waits for no man – not even her husband, from whom she was separated last season), Carol (who learned to defend herself following years as a victim of domestic violence) and Michonne (a sword-brandishing force who literally cut the arms off her abusers). Which makes complete sense: in a post-apocalyptic setting, there’s no room for inequality. And while there are still male villains who use torture and sexual assault to achieve their end game, The Walking Dead isn’t a show aboutkidnappers, serial killers or man-versus-woman. Human-induced cruelty and violence may be a byproduct of a zombie apocalypse (and ingrained in some men’s mindsets), but no woman – even if victimised – is introduced as a “victim”. Even if it takes a while, she will get her revenge, and she should be feared because of it. And then there’s The Walking Dead, a series that constantly challenges gender convention through strong female characters like Maggie (who waits for no man – not even her husband, from whom she was separated last season), Carol (who learned to defend herself following years as a victim of domestic violence) and Michonne (a sword-brandishing force who literally cut the arms off her abusers). Which makes complete sense: in a post-apocalyptic setting, there’s no room for inequality. And while there are still male villains who use torture and sexual assault to achieve their end game, The Walking Dead isn’t a show about kidnappers, serial killers or man-versus-woman. Human-induced cruelty and violence may be a byproduct of a zombie apocalypse (and ingrained in some men’s mindsets), but no woman – even if victimised – is introduced as a “victim”. Even if it takes a while, she will get her revenge, and she should be feared because of it.
It’s this diversity of female villains that makes the rising role of women in horror even more exciting. As seen on American Horror Story: Coven, even the sadistic Fiona Goode was a character bred from social tragedy. Fuelled by her obsession with youth (as our culture is), she takes the lives and energy of anyone who dare make her feel obsolete – which reflects the way middle-aged actresses are made to feel. This commentary is paralleled in Gone Girl, via Amy Dunne’s “cool girl” speech, which remarks on the way women are pressured to fake it for men; to paint themselves as flawless despite our, as humans, being flawed. Meanwhile, American Horror Story: Freak Show looks to already tackle beauty standards, female jealousy and mom dynamics – and we’re only two episodes in. Finally female horror stars are just as complicated as men. And their complications stem from being pigeonholed and repressed for so many years.It’s this diversity of female villains that makes the rising role of women in horror even more exciting. As seen on American Horror Story: Coven, even the sadistic Fiona Goode was a character bred from social tragedy. Fuelled by her obsession with youth (as our culture is), she takes the lives and energy of anyone who dare make her feel obsolete – which reflects the way middle-aged actresses are made to feel. This commentary is paralleled in Gone Girl, via Amy Dunne’s “cool girl” speech, which remarks on the way women are pressured to fake it for men; to paint themselves as flawless despite our, as humans, being flawed. Meanwhile, American Horror Story: Freak Show looks to already tackle beauty standards, female jealousy and mom dynamics – and we’re only two episodes in. Finally female horror stars are just as complicated as men. And their complications stem from being pigeonholed and repressed for so many years.
This is what makes today’s female villains even more relevant: they embody the threat of what happens when you shove women aside. They are what emerge when you spend decades tying women up for horror-movie audiences who applaud the arrival of a man who saves the day. This moment of women in horror is a reclamation. Finally they’re being given the space to prove themselves worthy – and far more terrifying than some dude behind a ghost face mask.This is what makes today’s female villains even more relevant: they embody the threat of what happens when you shove women aside. They are what emerge when you spend decades tying women up for horror-movie audiences who applaud the arrival of a man who saves the day. This moment of women in horror is a reclamation. Finally they’re being given the space to prove themselves worthy – and far more terrifying than some dude behind a ghost face mask.