This project details the ways in which the classic slasher films of the 1970s, and their post-9/11 remakes, are representative of the individual and complex world views out of which each set of films were borne. The remakes manipulate gender roles including those of the Final Girl and the mother; genre conventions, including increases in domestic melodrama and pathos; production models, including the use of star actors, directors, and producers; sexuality and presentation of the sexualized female body; and race, especially in fine differences between white and non-white characters. In doing so, the post-9/11 films reveal a conservative cultural climate that strives to show recovery of the nuclear family unit after trauma, unlike the originals which are more nihilistic in tone and portray families as either absent or deeply flawed and unrecoverable.
| Identifer | oai:union.ndltd.org:uoregon.edu/oai:scholarsbank.uoregon.edu:1794/17925 |
| Date | 17 June 2014 |
| Creators | Hayt, Anthony |
| Contributors | Karlyn, Kathleen |
| Publisher | University of Oregon |
| Source Sets | University of Oregon |
| Language | en_US |
| Detected Language | English |
| Type | Electronic Thesis or Dissertation |
| Rights | All Rights Reserved. |
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