The Slasher Genre appeared in other media besides movies such as TV shows,video games, books, and comics.
In other media
Slasher film
Slasher film | In other media
Yes - TV shows,video games, books, and comics. The slasher genre was parody in horror manga like with "Freak Island","Pumpkin Night", and "Killing Morph". It appeared in other media besides movies such as TV shows,video games, books, and comics. Yes, the genre is seen in TV shows, video games, books, and comics.
who played jason voorhees in friday the 13th
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Ari Lehman
assistant
who is this character?
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He is the main character from the "Friday the 13th" movie series.
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does he hide his face?
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Yes he wears a hockey goalie mask in "Friday the 13th Part III".
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how is this date significant in italy?
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Due to Americanization, young people consider Friday the 13th unlucky, even though 13 is generally considered a lucky number.
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is it anyway linked to mishaps on roads?
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A study in the "British Medical Journal" stated that "'the risk of hospital admission as a result of a transport accident "may" be increased by as much as 52 percent' on the 13th". Subsequent studies have disproved any correlation between Friday the 13th and the rate of accidents.
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what other characters were present in the movie mentioned earlier?
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Chris Higgins, Shelly
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what is the genre of this movie?
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Slasher film
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what sort of movies are these?
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These are a subgenre of horror films involving a killer murdering a group of people, usually by use of bladed tools
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have they inspired any other media?
user
The Slasher Genre appeared in other media besides movies such as TV shows,video games, books, and comics.
Slasher film | In other media
A slasher film is a subgenre of horror films involving a killer murdering a group of people, usually by use of bladed tools. Although the term "slasher" is sometimes used informally as a generic term for any horror film involving murder, film analysts cite an established set of characteristics which set slasher films apart from other horror subgenres, such as splatter films and psychological horror films. Critics cite the Italian "giallo" films and psychological horror films such as "Peeping Tom" (1960) and "Psycho" (1960) as early influences. The genre hit its peak between 1978 and 1984 in an era referred to as the "Golden Age" of slasher films.
Slasher film | Introduction
George Archainbaud's "Thirteen Women" (1932) tells the story of a sorority whose former members are set against one another by a vengeful peer who crosses out their yearbook photos, a device used in subsequent films "Prom Night" (1980) and "Graduation Day" (1981). Early examples include a maniac seeking revenge in "The Terror" (1928), based on the play by Edgar Wallace. B-movie mogul Val Lewton produced "The Leopard Man" (1943), about a murderer framing his crimes against women on an escaped show leopard. Basil Rathbone's "The Scarlet Claw" (1944) sees Sherlock Holmes investigate murders committed with a five-pronged garden weeder that the killer would raise in the air and bring down on the victim repeatedly, an editing technique that became familiar in the genre.
Slasher film | Early film influences
Subgenres that influenced slasher films include splatter films, "Krimi" films, and "giallo" films. Splatter films focus on gratuitous gore. Herschell Gordon Lewis's "Blood Feast" (1963) was a hit at drive-in theaters and is often considered the first splatter film. Lewis followed with gory films "Two-Thousand Maniacs!" (1964), "Color Me Blood Red" (1965), "The Gruesome Twosome" (1967) and "The Wizard of Gore" (1971). This grotesque style translated to Andy Milligan's "The Ghastly Ones" (1969), "Twisted Nerve" (1968), "Night After Night After Night" (1969) as well as "The Haunted House of Horror" (1969). Post-World War II Germany adapted British writer Edgar Wallace's crime novels into a subgenre of their own called "Krimi" films.
Slasher film | Splatter, Krimi and giallo films
The appeal of watching people inflict violence upon each other dates back thousands of years to Ancient Rome, though fictionalized accounts became marketable with late 19th century horror plays produced at the Grand Guignol. Maurice Tourneur's "The Lunatics" (1912) used visceral violence to attract the Guignol's audience; films like this eventually led to public outcry in the United States, eventually passing the Hays Code in 1930. The Hays Code is one of the entertainment industry's earliest set of guidelines restricting sexuality and violence deemed unacceptable. Crime writer Mary Roberts Rinehart influenced horror literature with her novel "The Circular Staircase" (1908), adapted into the silent film "The Bat" (1926), about guests in a remote mansion menaced by a killer in a grotesque mask.
Slasher film | Origins
Slasher horror is a horror subgenre, which involving a killer murdering a group of people, usually by use of bladed tools. Examples of slasher horror films include "Sleepaway Camp" (1983), "I Know What You Did Last Summer" (1997) and "Lake Bodom" (2016).
Horror film | Slasher horror
Horror has become prominent on television with "The Walking Dead", "American Horror Story", and "The Strain", and on online streaming services like Netflix's "Stranger Things" and "Haunting of Hill House". Also, many popular horror films have had successful television series made: "Psycho" spawned "Bates Motel", "The Silence of the Lambs" spawned "Hannibal", and both "Scream" and "Friday the 13th" had TV series in development. "You're Next" (2011) and "The Cabin in the Woods" (2012) led to a return to the slasher genre. The latter was intended also as a critical satire of torture porn. "Terrifier" (2016) is another slasher film, which follows the actions of a homicidal clown named Art, who terrorizes and kills victims in a decrepit apartment building on Halloween night.
Horror film | 2010s
Slasher films typically adhere to a specific formula: a past wrongful action causes severe trauma that is reinforced by a commemoration or anniversary that reactivates or re-inspires the killer. Built around stalk-and-murder sequences, the films drawn upon the audience's feelings of catharsis, recreation, and displacement, as related to sexual pleasure.
Slasher film | Definition
Slasher films are a subgenre of horror films featuring acts of violence portrayed in graphic detail. In his book entitled "Going to Pieces: The Rise and Fall of the Slasher Film, 1978-1986", author Adam Rockoff states, "The slasher film typically involves a killer who stalks and graphically murders a series of victims in a typically random, unprovoked fashion. The victims are usually teenagers or young adults who are separated from mainstream civilization or unable to easily access help. These films typically begin with the murder of a young woman and end with a one female survivor who manages to subdue the killer, only to discover that the problem has not been completely solved".
Gender in horror films | Slasher
In the film, the supernatural killer is Martha, a young woman murdered on her honeymoon. She comes back from the grave to exact revenge upon a world who destroyed her perfect life. This emulates the narrative of many Japanese Horror which were a big influence on the writer and director. They were also influenced by the films of Troma and many of the sequences employ graphic scenes of gore, nudity and buckets of blood in line with this ethic.
Slashed | Cinematic and literary allusions
The Shriek Show label handles obscure horror and exploitation films such as "", "2019: After the Fall of New York", "All the Colors of the Dark", "Amok Train", "Anthropophagus: The Grim Reaper", "The Being", "Beyond the Darkness", "Black Demons", "Burial Ground: The Nights of Terror", "The Comeback", "The Confessional: House of Mortal Sin", "Cop Killers", "The Dark", "Delirium", "Demonia", "Demons III: The Ogre", "Grizzly", "Day of the Animals", "", "Die Screaming, Marianne", "Dracula vs. Frankenstein", "Eaten Alive!", "The Flesh and Blood Show", "Flesh Eater", "Frankenstein's Bloody Terror", "Frightmare", "The House of Clocks", "House of Whipcord", "The House on the Edge of the Park", "Jungle Holocaust", "Just Before Dawn", "A Lizard in a Woman's Skin", "Man from Deep River", Massacre in Dinosaur Valley, "Murder Rock", "The New Barbarians", "The Other Hell", "Scream: The Outing", "The Sweet House of Horrors", "Syndicate Sadists", "Touch of Death", "Zombi 3", "Zombie 4: After Death" and "Zombie 5: Killing Birds".
Media Blasters | Shriek Show
The narrative is presented as a tour diary for the Northern Irish rock band Ash, but soon reveals itself to be a gorefest. The film features many famous musicians and actors, some playing themselves while others playing specially written characters. The initial idea was given to Shepherd to write a short 'slasher' film for use on the DVD side of the 2002 single release 'Envy'. The film was anticipated by the tabloid and music press but had never officially been released. Due to be released in 2004, to much press hype, Slashed did not appear for reasons unknown. In July 2007, Ash bassist Mark Hamilton let it be known that it was to be uploaded to YouTube as "I'm sure some people would want to see Chris Martin getting murdered".
Slashed | Release
Mirroring the punk rock movement, novice filmmakers proved anyone could make a movie on home video, resulting in shot-on-video slashers "Blood Cult" (1985), "The Ripper" (1985), "Spine" (1986), "Truth or Dare?" (1986), "Killer Workout" (1987), and "Death Spa" (1989). Lesser-known horror properties "Sleepaway Camp", "The Slumber Party Massacre" and "Silent Night, Deadly Night" became series on home video. "The Hills Have Eyes Part 2" (1985) and "" (1985) were theatrically released but neither film was embraced like "" (1985), a sequel rushed into production. Distinguished by overtly homoerotic undertones, "Freddy's Revenge" became the highest grossing horror film of 1985 and inspired "dream" slashes "Dreamaniac" (1986), "Bad Dreams" (1988), "Deadly Dreams" (1988), and "Dream Demon" (1988).
Slasher film | Direct-to-video and series (1985–1995)
The genre continued into and peaked in the 1980s with well-known films like "Friday the 13th" (1980) and "A Nightmare on Elm Street" (1984). Many 1980s slasher films used the basic format of "Halloween", for example "My Bloody Valentine" (1981), "Prom Night" (1980), "The Funhouse" (1981), "Silent Night, Deadly Night" (1984) and "Sleepaway Camp" (1983), many of which also used elements from the 1974 film, "Black Christmas". The genre experienced a mainstream revival in the 1990s with the success of "Scream", which both mocked and paid homage to traditional slasher conventions. Slasher films often prove popular and spawn sequels, prequels and remakes that continue to the present day.
Exploitation film | Slasher films
The story for "Death Proof" developed from Quentin Tarantino's fascination for the way stuntmen would "death-proof" stunt cars so a driver could survive horrific, high-speed crashes and collisions. This inspired Tarantino to create a slasher film featuring a deranged stuntman who stalks and murders sexy young women with his "death-proof" car. Tarantino remembers, "I realized I couldn't do a straight slasher film, because with the exception of women-in-prison films, there is no other genre quite as rigid. And if you break that up, you aren't really doing it anymore. It's inorganic, so I realized—let me take the structure of a slasher film and just do what I do.
Death Proof | Production
In terms of the latter, Martin has specifically cited the influences of "Halloween" and "It Follows" in "Slasher"s use of a mysterious singular embodiment that is responsible for a series of killings. Not wanting to have the show's killer be "a mythological creature" (as he feels the killers in most slasher films do not have much mystery surrounding them), Martin also uses elements of the traditional whodunit in "Slasher": the characters, many of whom have mysterious backgrounds and their own reasons for possibly being the killer are featured, explored, and eliminated from consideration, one by one either through death or the natural deductive process, until the "all too human" killer and their motivations are revealed.
Slasher (TV series) | Writing
A decline in theatrical profits encouraged film producers to creatively translate the horror film genre to a television audience. The success of FX's "American Horror Story" and AMC's "The Walking Dead" green-lit a number of networks to develop horror series, several structured or based on slasher films. A&E's "Bates Motel" and former MTV and now, VH1's "Scream" offered creative deaths and cathartic suspense, while Freeform's "Pretty Little Liars" and The CW's "Riverdale" took more restrained approaches to the young adult demographic. Netflix's "Slasher" and Fox's "Scream Queens" are/were intended to be anthologies with new settings and mysteries every season. A TV remake of "The Bad Seed" aired on Lifetime in fall 2018.
Slasher film | Recent works
The public had largely lost interest in theatrical released slashers, drawing a close to the Golden Age. Production rates plummeted and major studios all but abandoned the genre that, only a few years earlier, had been very profitable. Many 1984 slasher films with brief theatrical runs found varying degrees of success on home video, such as "Splatter University", "Satan's Blade", "Blood Theatre", "Rocktober Blood" and "Fatal Games". Movies like "The Prey" and "Evil Judgement" were filmed years prior and finally were given small theatrical releases. "Silent Madness" used 3D to ride the success of "Friday the 13th Part III" (1982), though the effect did not translate to the VHS format.
Slasher film | 1984
To a large degree, the genre's influence lives on in the slasher films which became enormously popular during the 1980s and drew heavily on tropes developed by earlier gialli.
Giallo | Popularity and legacy
As more people upload and view murder videos on shock sites, some believe that this practice is being mirrored in the horror movie genre. The presence of CCTV in "Saw" and the online torture auctions in "" raise questions on the nefarious use of monitoring systems and the widespread access to videos of Al-Qaeda beheadings, executions in American prisons, and other real depictions of violence and murder on the internet. In examples like Saw, the contemporary horror genre reflects real horror on the internet. Additionally, a parody of Goatse was shown by a BBC newscast as an alternative for the then recently unveiled logo for the 2012 Summer Olympics.
Shock site | Media
In June 2018 "Child's Play" creator Don Mancini Tweeted that he is shopping a TV series with Brad Dourif as Chucky. The series will air on the Sci-Fi network. "It Follows" (2014) was a critical success, mixing slasher film style with demonic fantasy and metaphorical subtext. "The Guest" (2014) and "Don't Breathe" (2016) twisted conventional tropes into unexpected takes on the horror genre. "Bodom" (2016) is inspired but not based on a real 1960s murder case attempt trying to reconstruct events by potential victims. Blumhouse Productions, founded by Jason Blum on his successful "Paranormal Activity" and "Insidious" series, released mid-budget slasher films "The Purge" (2013), "Happy Death Day" (2017) and "Truth or Dare" (2018).
Slasher film | Recent works
Slasher films focus on a psychopath stalking and violently killing a sequence of victims. Victims are often teenagers or young adults. Alfred Hitchcock's "Psycho (1960)" is often credited with creating the basic premise of the genre, though Bob Clark's "Black Christmas" (1974) is usually considered to have started the genre while John Carpenter's "Halloween" (1978) was responsible for cementing the genre in the public eye. "Halloween" is also responsible for establishing additional tropes which would go on to define the genre in years to come. The masked villain, a central group of weak teenagers with one strong hero or heroine, the protagonists being isolated or stranded in precarious locations or situations, and either the protagonists or antagonists - or possibly both - experiencing warped family lives or values were all tropes largely founded in "Halloween".
Exploitation film | Slasher films
With the plot centered on a group of film school students, "Urban Legends: Final Cut" uses a self-reflexive narrative approach and features numerous references and allusions to cinema and other horror films. The opening sequence on the airplane was inspired by the "Twilight Zone" episode "Nightmare at 20,000 Feet" (1963). Lisa's abduction sequence in which she is incapacitated with a plastic garment bag in a coat closet is an homage to "Black Christmas" (1974). Film scholar Jim Harper, in his book "Legacy of Blood: A Comprehensive Guide to Slasher Movies" (2004), cites "Urban Legends: Final Cut" as a "post "Scream" slasher" influenced by Italian "giallo" films, featuring a "distinct Argento influence" present in the film, particularly in its killer's attire.
Urban Legends: Final Cut | Cinematic allusions
Releases began to distance from the genre. The poster for "Mortuary" features a hand is bursting from the grave, though the undead have nothing to do with the film. Distributors were aware of fading box office profits, and they were attempting to hoodwink audiences into thinking long-shelved releases like "Mortuary" were different.
Slasher film | 1983
and Liev Schreiber. "Scream" and "I Know What You Did Last Summer" were internationally popular. In Asia, Hong Kong released "The Deadly Camp" (1999) and South Korea released "Bloody Beach" (2000), "The Record" (2001), and "Nightmare" (2000). Australia's postmodern "Cut" (2000) cast American actress Molly Ringwald as its heroine. Britain released "Lighthouse" (1999) and the Netherlands had two teen slashers, "School's Out" (1999) and "The Pool" (2001). Bollywood produced the first musical-slasher hybrid with "Kucch To Hai" (2003), as well as the more straightforward "" (2003).
Slasher film | Post-modern slashers (1996–present)
In 1999 "Due South" creator Paul Haggis participated in a Q&A with an online "Due South" newsgroup. The newsgroup asked Haggis if he had a problem with fans seeing the characters he created (Detective Ray Vecchio and Constable Benton Fraser) as being in love with each other and having a closeted relationship. Haggis replied, "Absolutely no problem at all. If ever two people loved each other, it's Ray and Fraser."
Slash fiction | Slash and the original media sources
Williamson, a self-confessed fan of "Halloween" (1978), "Prom Night" (1980), and "" (1986), wrote the characters as well-versed in horror film lore and knowing all the clichés that the audience were aware of. The film grossed $173 million worldwide, it became both the highest grossing slasher film of all time and the first one to cross $100 million at the domestic box office, and the most successful horror film since "The Silence of the Lambs" (1991). The marketing for "Scream" distanced itself from the slasher subgenre as it passed itself as a "new thriller" that showcased the celebrity of its stars, promoting the appearances of then-popular stars Drew Barrymore, Courteney Cox and Neve Campbell over its violence.
Slasher film | Post-modern slashers (1996–present)
Paul Zachary of Bloody Disgusting stated that the film combined elements of "giallo" and more straightforward slasher films. Zachary described it as a "Franken-film" combining several bit and pieces of other related work.
Night Killer | Style
Exposure to scenes of explicit violence combined with sexual images is believed to affect males’ emotional reactions to film violence. It has also shown to lead males to be less disturbed by scenes of extreme violence and degradation directed at women, claims the Molitor and Sapolski article. Carol Clover states that the implied audience for slasher films are "largely young and largely male". Studies show that the most popular slasher films of the 1990s are more violent than the most commercially successful slasher films released in the 1980s. Specifically, according to this article, there was a 44% increase in the number of violent acts suffered by innocent victims in the 1990s crop of slasher films.
Gender in horror films | Effects on viewers
Other filmmakers followed Walker's lead, as posters dubbed "Blood and Lace" (1971) as "sickest PG-rated movie ever made!", while "Scream Bloody Murder" (1973) called itself as "gore-nography." By 1974 the exploitation film battled political correctness and their popularity waned, and while films like "The Love Butcher" (1975) and "" (1976) were accused of promoting bigotry, the low-budget independent film "The Texas Chain Saw Massacre" (1974) became a major hit and the most commercially successful horror film since "The Exorcist". The story concerns a violent clash of cultures and ideals between the counter-culture and traditional conservative values, with the film's squealing antagonist Leatherface carrying a chainsaw and wearing the faces of victims he and his family eat.
Slasher film | Exploitation films
You can see him now, soaking up videos of "Friday the 13th" and "Halloween"—not to mention the lesser likes of "He Knows You're Alone", "Terror Train", and "My Bloody Valentine"—and saying, "I can do that!" And he can." Critic James Berardinelli credited the film (along with "Scream") as igniting a new boom of slasher films, adding: "There is one minor aspect of the plot that elevates "I Know What You Did Last Summer" above the level of a typical '80s slasher flick -- it has an interesting subtext. I'm referring to the way the lives and friendships of these four individuals crumble in the wake of their accident.
I Know What You Did Last Summer | Critical response
The "Krimi" films were released in the late 1950s through the early 1970s and featured villains in bold costumes accompanied by jazz scores from composers such as Martin Böttcher and Peter Thomas. "Fellowship of the Frog" (1959), about a murderer terrorizing London, was successful in America, leading to similar adaptations like "The Green Archer" (1961) and "Dead Eyes of London" (1961). The Rialto Studio produced 32 "Krimi" films between 1959 and 1970.
Slasher film | Splatter, Krimi and giallo films
Joseph A. Ziemba, published in "The New York Times", described the film as a "gore-drenched... European pastiche of American slashers." Promoting a revival screening, the Alamo Drafthouse wrote of the film in a press release: "Director N.G. Mount’s kinetic stylings rip-off any number of early 80s slashers -- and trumps them all. Mount’s madness on all visual, technical, and constitutional levels achieves an iconic trash perfection that is only equalled by fellow idiosyncratic filmmakers Nick Millard, Doris Wishman, and Chester Turner."
Ogroff | Critical response
In the Hack/Slash comics the comics stars Cassie Hack fighting off the slashers. Horror movies like the Texas chainsaw massacre series also had comic book adaptions. The Comic Book series Nailbiter also has some elements of a slasher film.
Slasher film | Comics
Maurice Devereaux (pronounced Morris Devro) was born in Montreal, Quebec, Canada, and showed an interest in movies at an early age. He writes, produces, directs and edits his own films ever since he studied cinema at Ahuntsic College. Devereaux's self-description was featured on the "Slashers" DVD: "Mine is a typical film-geek heritage; tons of Spielberg, Lucas and comic book superheroes as a kid. Superman the Movie, Star Wars, Close Encounters, Empire and Raiders are the movies that made me want to become a movie maker. In my teens, Carpenter, Kubrick, Raimi, Coppola, Romero and Argento were a huge influence. I also learned a lot reading Starlog and Fangoria magazines.
Maurice Devereaux | Biography
The final girl trope is discussed in film studies as being a young woman (occasionally a young man) left alone to face the killer's advances in the movie's end. Laurie Strode (Jamie Lee Curtis), the heroine in "Halloween", is an example of a typical final girl. Final girls are often, like Laurie Strode, virgins among sexually active teens. Several slasher film villains grew to take on villain protagonist characteristics, with the series following the continued efforts of a villain, rather than the killer's victims (for example, Michael Myers, Freddy Krueger, Jason Voorhees, Chucky, and Leatherface). The "Scream" film series is a rarity that follows its heroine Sidney Prescott (Neve Campbell) rather than masked killer Ghostface, whose identity changes from film to film, and is only revealed in each entry's finale.
Slasher film | Common tropes
The 1990s saw a backlash to the saturation of gory slashers in the decade prior and the horror icons of this decade are mostly subversive versions of the tropes seen before. Hannibal Lecter from "Silence of the Lambs" is a fully human serial killer who is intelligent and sophisticated, the Candyman is an inversion of racial issues in many slasher films, "Scream"'s Ghostface is in large part a self-referencial parody of slasher killers.
Horror icon | 1990s: self-reflective era
Reviewing "V/H/S" for The A.V. Club, Scott Tobia notes that the genre "has since become to the ’00s and ’10s what slasher movies were to the ’80s." The genre appeals to film producers because of its lower cost, as it is believed the illusion of amateur documentary style allows lower production values than would be accepted on a conventional film. Writer-director Christopher B. Landon, who has made several found footage horror films, posits that the genre is likely to extend in the future outside horror.
Found footage (film technique) | History
Upon realizing that they are the only ones who can put an end to the bloody killing spree, the longtime horror fans prepare to put their vast knowledge of slasher disposal to the ultimate test.
Freak Out (film) | Plot
From its earliest days, slash fiction has been particularly inspired by popular speculative fiction franchises, possibly because speculative fiction may lack well-developed female characters or because the speculative elements allow greater freedom to reinterpret canon characters. However, other large bodies of slash fiction, such as "Starsky and Hutch" or "The Professionals", are based on non-speculative sources. Slash fiction follows popular media, and new stories are constantly produced. There is some correlation between the popularity and activity of each variety of slash fiction and those of the source of the material. Some slash fiction readers and writers tend to adhere closely to the canonical source of their fiction, while other participants may follow the slash content without being fans of the original source material itself.
Slash fiction | Slash sources
The study also reported that the number of violent acts against males increased across the 1980s, but tended to decrease for females. Apparently, the producers were criticized for the depiction of women as victims in slasher films, so they toned down such attacks.
Gender in horror films | Changing patterns
He does his thing. I think the idea was to try and broaden the audience in that it wasn’t a karate movie. In my mind, it was a Frankenstein movie. It was like Frankenstein meets Chuck." Miller said the film was not inspired by slasher movies. "I’m not a fan of those. When I read it, I thought that it was Frankenstein. That’s what I was heading towards. We’ll have the mad scientists bringing this guy back to life. Chuck will have to try to apprehend him."
Silent Rage | Production
Bloody Disgusting rated it 1/5 stars and wrote that the film did not live up to its promising premise. Eric Campos of Film Threat rated it 1.5/5 stars and criticized the poor dialog that dominated the film at the expense of horror.
Slashers (film) | Reception
The horror subgenre of slasher films is then explored. "Videodrome", "The Stuff", and "They Live" are highlighted as satirizing consumerism, commercialism, and the rise of home video in the 1980s. Parallels are drawn between the charisma and actions of villain Freddy Krueger of the "Nightmare on Elm Street" franchise and former U.S. President Ronald Reagan.
Nightmares in Red, White and Blue | Synopsis
Many modern horror icons originate from the 1970s. The decade featured many psychopaths similar to the last decade but these villains are often more inhuman or inspired by real life serial killers of the era. These films often also focused more on graphic violence compared to the 1960s due to a rise in independent filmmaking. The Ed Gein inspired Leatherface from "The Texas Chain Saw Massacre" (1974) was one of the first killers to be predominantly recognizable for not speaking and hiding his face with a mask, something which the characters The Phantom (based on the real life killer of the Texarkana Moonlight Murders) from "The Town That Dreaded Sundown" (1976) and Michael Myers from "Halloween" (1978) also would do.
Horror icon | 1970s: slashers emerge
Films such as "Hospital Massacre" and "Night Warning" enjoyed strong home rentals from video stores, though "Dark Sanity", "The Forest", "Unhinged", "Trick or Treats", and "Island of Blood" fell into obscurity with little theatrical releases and only sub-par video transfers. Supernatural slasher films continued to build in popularity with "The Slayer", "The Incubus", "Blood Song", "Don't Go to Sleep" and "Superstition" (the supernatural-themed "", though part of the "Halloween" franchise, does not adhere to the slasher film formula). "Alone in the Dark" was New Line Cinema's first feature film, released to little revenue and initially dismissed by critics, though the film has gained critical reappraisal.
Slasher film | 1982
Carol Clover's "Men, Women, and Chainsaws: Gender in the Modern Horror Film" is generally thought of to be the cornerstone work of studying gender in slasher films. Slasher films can include "scenes of explicit violence primarily directed toward women, often occurring during or juxtaposed to mildly erotic scenes". Research has been unable to show if female characters are killed more often in an explicitly sexual way than male characters in this genre.
Gender in horror films | Slasher
Wes Craven's "New Nightmare" (1994) utilized characters from his original "Elm Street" film in self-referential and ironic ways, as the actors played versions of their true personas targeted by a Freddy Krueger-inspired demon. "New Nightmare" sold 2.3 million tickets the North American box office. The slasher film's surprising resurrection came in the form of "Scream" (1996), a box office smash and redefined the genre's rules. Directed by Craven and written by Kevin Williamson, "Scream" juggled postmodern humor with visceral horror. The film played on nostalgia for the Golden Age, but appealed to a younger audience with contemporary young actors and popular music.
Slasher film | Post-modern slashers (1996–present)
The film is a historical and critical look at slasher films, which includes dozens of clips, beginning with "Halloween", "Friday the 13th", and "Prom Night". The films' directors, writers, producers, and special effects creators comment on the films' making and success. During the Ronald Reagan years, the films get gorier, budgets get smaller, and their appeal diminishes. Then, "A Nightmare on Elm Street" revives the genre. Jumping to the late 1990s, when "Scream" brings humor and TV stars into the mix. Although some criticize the genre as misogynistic, most of the talking heads celebrate the films: as long as there are teenagers, there will be slasher films.
Going to Pieces: The Rise and Fall of the Slasher Film | Plot
Adam Green's "Hatchet" and Ryan Nicholson's "Gutterballs" bill themselves as throwbacks to the slasher films of the 1980s.
Exploitation film | Slasher films
The early 1970s saw an increase in exploitation films that lured audiences to grindhouses and drive-ins by advertising of sex and violence. Robert Fuest's "And Soon the Darkness" (1970) set off the '70s exploitation wave by maximizing its small budget and taking place in daylight. "The Jekyll and Hyde Portfolio" (1971) follows an insane killer who stalks and murders victims at a nursing academy. "Fright" (1971) is based on the "babysitter and the man upstairs" urban legend while "Tower of Evil" (1972) features careless partying teens murdered in a remote island lighthouse. Pete Walker broke taboos by advertising his films' negative reviews to attract viewers looking for the depraved, using a "no press is bad press" mantra with "The Flesh and Blood Show" (1972), "Frightmare" (1974), "House of Mortal Sin" (1976), "Schizo" (1976) and "The Comeback" (1978).
Slasher film | Exploitation films
The incapacitated Mike is stabbed repeatedly by Erin, who ties a rope around his neck, attaches the other end to a tractor, and drives the vehicle until Mike's neck snaps.
Slasher (2007 film) | Plot
The success of "Halloween" ushered in a slew of rip-offs in the decade following, one of the most notable of these, "Friday the 13th", began production already in 1979. The Phantom would also go on to be influential in a lesser extent during the 80s and decades after, mainly due to many other films using copies of his simple sack mask for their killer.
Horror icon | 1970s: slashers emerge
A celebration of slasher cinema - from "Psycho" to the present day, with a focus on highlighting many of the genre's forgotten cult classics, deconstructing how to survive a slice and dice movie and meditating upon why it is almost always a final girl and rarely a final guy. Among the films many interviewees are Corey Feldman, Mick Garris, Tobe Hooper, Tom Holland, Eduardo Sánchez, Patrick Lussier, Norman J. Warren, Felissa Rose, Scott Spiegel, Fred Olen Ray, Jeffrey Reddick, John Carl Buechler, Emily Booth, Adam Green, Marysia Kay, J.S. Cardone.
Slice and Dice: The Slasher Film Forever | Overview
Guilt, confusion, and doubt build in them until they can no longer stand to be with each other or look at themselves in the mirror. Sadly, this potentially-fascinating element of the movie is dismissed quickly to facilitate a higher body count. And, as I said before, a few extra deaths can only make a slasher movie better, right?"
I Know What You Did Last Summer | Critical response
For many people, slash is a controversial subject. In addition to the legal issues associated with traditional fan fiction, some people believe that it tarnishes established media characters to portray them in a way which was never illustrated canonically. But official disapproval of slash, specifically, is hard to find. As early as 1981, Lucasfilm has issued legal notices to fans who wrote sexually-explicit stories. J. K. Rowling/Warner Brothers have sent cease and desist letters referencing "sexually explicit" writings on the web, though Rowling approves the writing of fan fiction in general, posting links to fan fiction on her website and openly acknowledging slash fiction while maintaining that pairings such as those between Harry/Draco and Harry/Snape are non-canonical.
Slash fiction | Slash and the original media sources
Despite "A Nightmare on Elm Street"'s success, fatigue hit the slasher genre, and its popularity had declined substantially. The home video revolution, fueled by the popularity of VHS, provided a new outlet for low-budget filmmaking. Without major studio backing for theatrical release, slasher films became second only to pornography in the home video market. The drop in budgets to accommodate a more economic approach was usually met with a decline in quality. Holdovers filmed during the Golden Age such as "Too Scared to Scream" (1985), "The Mutilator" (1985), "Blood Rage" (1987) "Killer Party" (1986) and "Mountaintop Motel Massacre" (1986) found video distribution.
Slasher film | Direct-to-video and series (1985–1995)
The genre developed in the mid-to-late 1960s, peaked in popularity during the 1970s, and subsequently declined over the next few decades. (Some examples continue to be produced). It has been considered a predecessor to, and significant influence on, the later American slasher film genre.
Giallo | Introduction
An example is Dennis Rader, who sought attention from the press during his murder spree.
Serial killer | Media influences
Despite its modest initial box office run, the film has garnered critical reappraisal, with film historians noting its importance in the horror film genre and some even citing it as the original slasher film.
Slasher film | Exploitation films
In November 2012, while being interviewed by "Playboy" magazine, filmmaker Quentin Tarantino admitted the inspiration for his film "Inglourious Basterds" came from "Hitler - Dead or Alive".
Hitler – Dead or Alive | In other media
Two back-to-back sequels are in the works, "Halloween Kills" and "Halloween Ends", due to be released in 2021 and 2022, respectively.
Slasher film | Recent works
The motivation for the villain in "Terror Train", similarly to other slasher films, is based on revenge; however, as film scholar John Kenneth Muir notes, the film's central organizing principle is "magic, or the often undetectable gulf between reality and illusion...In other words, characters live and die in "Terror Train" based, in large part, on how they perceive the reality or non-reality around them." Muir adds: "If the would-be victims can see through the illusion, they tend to survive. If they can't do so, they die. It's as simple that, but this approach makes "Terror Train" a more complex and layered film than the average slasher picture."
Terror Train | Themes
On May 5, 2009, he appeared as the guest mentor for the rock 'n' roll week of "American Idol". In 2010, Slash formed Slasher Films, a horror film production company. Its first film, "Nothing Left to Fear", was screened in select cities on October 4, 2013, before being released on DVD and Blu-ray the following Tuesday. Slash appeared on the October 26, 2014 episode of Talking Dead. He is reported to be a massive fan of horror movies. Slash's autobiography, simply titled "Slash", was published on October 30, 2007. It was co-written with Anthony Bozza. Slash also made several contributions to "", the autobiography of Mötley Crüe bassist and back-up singer Nikki Sixx, which was also published in 2007.
Slash (musician) | Other ventures
Stephen Dalton of "The National" wrote in his review: " A good slasher film is not about originality or realism, of course, but about execution – no pun intended. As such, director Menhaj Huda does a decent job with limited ingredients. But there is nothing in this pulpy, formulaic nerve-jangler that horror fans will not have seen countless times before."
Comedown (film) | Critical response
Due to its popularity, "Halloween" became a blueprint for success that many other horror films, such as "Friday the 13th" and "A Nightmare on Elm Street", followed, and that others like "Scream" satirized. The major themes present in "Halloween" also became common in the slasher films it inspired. Film scholar Pat Gill notes that in "Halloween", there is a theme of absentee parents but films such as "A Nightmare on Elm Street" and "Friday the 13th" feature the parents becoming directly responsible for the creation of the killer. There are slasher films that predated "Halloween", such as "Silent Night, Bloody Night" (1972), "The Texas Chain Saw Massacre" (1974) and "Black Christmas" (1974) which contained prominent elements of the slasher genre; both involving a group of teenagers being murdered by a stranger as well as having the final girl trope.
Halloween (1978 film) | Legacy
Jim Davidson of "The Pittsburgh Press" panned the film, writing: "The only suspense in this appalling 1980 movie... lies in anticipating the who and when of the next stabbing," adding that "Director Jeff Lieberman uses forest locations and a full set of dark filters that disguise the cheapness of the production." Todd Martin from "HorrorNews.net" gave the film a positive review, praising the film's script, soundtrack, and bleak tone, calling it "one of the most underrated slasher flicks of all time". Dennis Schwartz from "Ozus' World Movie Reviews" awarded the film a grade C+. In his review of the film, Schwwartz wrote, "Fans of slasher films should be drawn to the blood and gore that is so beautifully shot and is not as graphic as it could have been.
Just Before Dawn (1981 film) | Critical response
Contemporary scholars in film criticism, such as Tony Williams, have credited "Friday the 13th" for initiating the subgenre of the "stalker" or slasher film. Cultural critic Graham Thompson also considers the film as a template, along with John Carpenter's "Halloween" (1978), that "instigated a rush" of films of its type, in which young people away from supervision are systematically stalked and murdered by a masked villain. While critical reception of the film has been varied in the years since its release, it has attained a significant cult following. In 2017, "Complex" ranked the film ninth in a list of the best slasher films of all time.
Friday the 13th (1980 film) | Cultural impact
Slasher films of the 1990s portray an act of brutal violence an average of once every two and a half minutes. Also, characters are shown in terror an average of three and a half minutes longer in slasher films in the 1990s. According to Gloria Cowan and Margaret O'Brien, experimental studies have been done to show the effects of viewing R-rated violent films have found "increased acceptance of interpersonal violence and rape mythology". These studies have also found desensitization with "carry-over attitude effects" towards victims of violence. These studies have shown, that after viewing slasher films, college male students have less sympathy for rape victims, see them as less injured, and are more likely to endorse the myth that women enjoy rape.
Gender in horror films | Effects on viewers
Many of these vids are made by slash (and gen) fans, but enormous numbers of them are made by people who have never heard of media fandom. The previous secrecy of vidding fans has come to seem unnecessary, but there is still a community ethos of not freely giving out a vidder's URL.
Slash fiction | Slash vidding
On the occasion of "Slasher"s Super Channel premiere, "The Globe and Mail"s John Doyle, while remarking that it "is no masterpiece of horror, nor was it meant to be," called the show "very well-crafted," praising its "exceptional cast" and tight pacing, and noting fans of gory horror will appreciate its bloody scenes.
Slasher (TV series) | Critical response
Film Bizarro also found the film watchable, despite listing a number of problems such as bad editing and acting, no atmosphere or suspense, restrained gore, erratic pacing, and a lack of originality.
Slasher (2007 film) | Reception
Linz and Donnerstein state that slasher films single out women for attack. They argue that the female body count in slasher films should be examined in the context of other film genres. Linz and Donnerstein affirm that "across most television and film content females are less often murdered and brutalized than males by a very large margin." The study tested this assertion compared with the genre selected for analysis, which is popular action/adventure films containing violence. Gloria Cowan conducted a study on 57 different slasher films. Their results showed that the non-surviving females were more frequently sexual than the surviving females and the non-surviving males.
Gender in horror films | Portrayal of women vs. men
A score of two out of five was awarded by Moria, which wrote that "Slasher" was amateurish, derivative, and unimaginative with bland characters and a preposterous twist ending. Everything about the film was criticized by Slasherpool, which gave it a zero. Wildside Cinema said "Slasher" is "an unimaginatively titled, unimaginatively written, poorly directed, low-budget horror film from Germany that, in my opinion, didn't even rise to the worst German splatter films" and "The cons are incredibly numerous here including days that run into nights in seconds, non-stop music, bad writing, color saturation issues and more". Despite deeming it clichéd in every regard, Oh, the Horror! stated "Slasher" was competent and "a decent, bloody time-waster for fans of this particular genre".
Slasher (2007 film) | Reception
Its success led to a series of "old dark house" films including "The Cat and the Canary" (1927), based on John Willard's 1922 stage play, and Universal Pictures' "The Old Dark House" (1932), based on the novel by J.B. Priestley. In both films, the town dwellers are pitted against strange country folk, a recurring theme in later horror films. Along with the "madman on the loose" plotline, these films employed several influences upon the slasher genre, such as lengthy point of view shots and a "sins of the father" catalyst to propel the plot's mayhem.
Slasher film | Origins
The idea to make a slasher film came from a failed project that Hallam had worked on; after successfully pitching the idea of a slasher to Horvath, the filmmakers decided to combine this idea with their love of European art films.
Entrance (film) | Production
Yes, the acting is horrible and no, it does nothing to further the genre, but those should be the last reasons to catch this flick." Similar sentiments are shared by "Hysteria" "Lives!" "Oh, the Horror!" stated that, despite the amateurishness of the production, "The Mutilator" is "one of those slashers that works despite itself," and "falls right in line with other slashers who unwittingly mix inanity and violence in a manner that impossibly works." "TV Guide" awarded the film one out of five stars, noting that the performances are "all substandard, even for this sort of trash."
The Mutilator | Critical response
Josh Bell, of "Comic Book Resources", felt that the film "seems contemptuous of horror fans". Cath Clarke, of "The Guardian", described it as an "exasperating serial killer-slasher". Brian Tallerico, of "RogerEbert.com", took issue with the film thinking "it's saying something about gratuitous violence and exploitation of real tragedy but is even more hypocritically hollow than the films it purports to criticize".
Random Acts of Violence (film) | Reception
Along with "The Burning", "Just Before Dawn" (1981) and several other similarly-plotted slashers, "Friday" specifically "followed Bava's inspired cue, having young people stalked by violent death amid beautiful wooded settings."
A Bay of Blood | Legacy
AllMovie called the film "bland early '80s slasher fare".
Death Screams | Critical reception
Some horror films and television programs have had comic-book sequels, such as "Buffy the Vampire Slayer Season Eight", as well as prequels or interstitial stories, such as "" and "", respectively.
Horror comics | Other media
A review in the "Variety" television and film guide called "Rush Week" a "slasher film long on pretty girls and short on gore. It's a belated direct-to-vid release. Durable if cornball format has coeds being killed on a college campus during the frats' annual rush week ceremonies... Bralver seems more intent on satisfying voyeurs." Michael Weldon in "The Psychotronic Video Guide" (1996) called the film "another stupid, boring teen/horror movie." In his book "Legacy of Blood: A Comprehensive Guide to Slasher Movies" (2004), film historian Jim Harper noted: "Although running several years too late to catch the slasher craze, "Rush Week" is a fairly honorable attempt to rehash the past."
Rush Week | Critical response
"Bloody Disgusting" panned the film overall, criticizing the script for not delving into the reasons that the titular Axeman was killing people, as this would give the film more depth and differentiate it from multiple similarly plotted films. Theron Moore of Horror News praised the film's villain and kills, but criticized the glacial pace, uninteresting subplots, stiff acting, and two-dimensional dialogue and writing. "Ain't It Cool News" gave a mostly favorable review for "Axeman", commenting that while the movie was not "reinventing the slasher genre" it "does feel like a throwback to a time when the slashers weren't so passé."
Axeman (film) | Reception
Slashers ("スラッシャーズ" "Surasshāzu" in Japan) is a 2001 slasher film written and directed by Maurice Devereaux.
Slashers (film) | Introduction
Notable feature-length documentaries about fandom (some more respectful of the subjects than others) include "Trekkies" and "A Brony Tale". "Slash" is a movie released in 2016 about a young boy who writes slash fanfiction.
Fandom | In film
James is credited with redefining the ghost story in that era. The serial murderer became a recurring theme. Yellow journalism and sensationalism of various murderers, such as Jack the Ripper, and lesser so, Carl Panzram, Fritz Haarman, and Albert Fish, all perpetuated this phenomenon. The trend continued in the postwar era, partly renewed after the murders committed by Ed Gein. In 1959, Robert Bloch, inspired by the murders, wrote "Psycho". The crimes committed in 1969 by the Manson Family influenced the slasher theme in horror fiction of the 1970s. In 1981, Thomas Harris wrote "Red Dragon", introducing Dr. Hannibal Lecter.
Horror fiction | Horror in the 20th century
Scholars such as Mulvey, Clover, and Creed have argued that we live in patriarchal society, where men dictate the rules and women have to abide by them. Clover looks at the notion that men might "elect to betray their sex and identify with screen females." In slasher films, male characters are often killed quickly and easily leaving the audience to resonate with the strong female character left to kill the monster. Clover seeks to suggest that masochistic impulses is seen within the male spectator who finds a "vicarious stake in" the "fear and pain" the final girl endures by the monster's torturous actions.
Gender in horror films | Male
The film was also cited by Hifumi Kono as being the inspiration for Bobby Barrow's signature scissors weapon in "Clock Tower". In 2009, writer-director Joshua Zeman and director Barbara Brancaccio released a documentary titled "Cropsey", which details the Cropsey maniac urban legend on which "The Burning" is based. Despite sharing little connection to "The Burning", the film re-ignited the popular mythos of the character. In 2017, "Complex" magazine named "The Burning" the 12th-best slasher film of all time. The following year, "Paste" included it in their list of "The 50 Best Slasher Movies of All Time," while Cropsy was ranked the 12th-greatest slasher villain of all time by "LA Weekly".
The Burning (film) | Legacy
"Slasher" employs a season-long anthology format, with an overarching mystery storyline that will be resolved upon the season's conclusion. Series creator Aaron Martin was inspired by the format of "American Horror Story", stating that, should "Slasher" have subsequent seasons, the "American Horror Story" style of self-contained storylines would be used along with, ideally, the reliance on as many actors from previous seasons as possible to portray brand new roles. Martin aims to tell "a modern-day monster story" in "Slasher", combining three of his favorite genres: the contemporary murder mystery (à la "Broadchurch"), the works of Agatha Christie, one of Martin's favorite crime writers, and the classic slasher films which he grew up with.
Slasher (TV series) | Writing
Carpenter denies writing sexually active teens to be victims in favor of a virginal "final girl" survivor, though subsequent filmmakers copied what appeared to be a "sex-equals-death" mantra. When shown an early cut of "Halloween" without a musical score, all major American studios declined to distribute it, one executive even remarking that it was not scary. Carpenter added music himself, and the film was distributed locally in four Kansas City theaters through Akkad's Compass International Pictures in October 1978. Word-of-mouth made the movie a sleeper hit that was selected to screen at the November 1978 Chicago Film Festival, where the country's major critics acclaimed it.
Slasher film | 1978
"Los Angeles Times" writer Mary McNamara wrote that not watching the graphic footage to prevent the fulfillment of "a killer's wish is not just absurd it's agreeing to adopt a murderer's way of thinking." She said that people should watch the footage, not for entertainment, but to realize how brutal the murders were. "New York Daily News" writer Linda Stasi said that media criticism of showing footage contradicted frequent media decisions to publish other violent content.
Murders of Alison Parker and Adam Ward | Media response
While writing an adptation of Brian DeLeeuw's "In This Way I Was Saved" in 2011, Adam Egypt Mortimer and DeLeeuw sidelined the project temporarily in order for Mortimer to gain experience as a filmmaker. They began work on "Some Kind of Hate" the following year. Mortimer and DeLeeuw set out to combine the slasher genre with indie drama. "A Nightmare on Elm Street", "Carrie" and "Let the Right One In" were used as inspiration during the writing process.
Some Kind of Hate (film) | Development
Two main problems pushed horror backward during this period: firstly, the horror genre wore itself out with the proliferation of nonstop slasher and gore films in the eighties. Secondly, the adolescent audience which feasted on the blood and morbidity of the previous decade grew up, and the replacement audience for films of an imaginative nature were being captured instead by the explosion of science-fiction and fantasy films, courtesy of advances made in computer-generated imagery. Examples of these CGI-driven films include "Species" (1995), "Anaconda" (1997), "Mimic" (1997), "Blade" (1998), "Deep Rising" (1998), "House on Haunted Hill" (1999), "Sleepy Hollow" (1999), and "The Haunting" (1999).
Horror film | 1990s
In his book "Horror and Science Fiction Film IV", Donald C Willis referred to the film as a "lame horror thriller" that was "crude at everything - t&a displays in the gym, suspense sequences, plot twists." In their review of the blu-ray, Bloody Disgusting opined that "the plot is the very basic slasher setup in that you meet a handful of characters and an unknown killer begins picking them off one by one...none of the characters are very well developed and are introduced to fit two very specific needs – be eye candy and become victims...this won’t result in a groundbreaking slasher that breaks the mold, but it works perfectly to create some enjoyable trash".
Killer Workout | Reception
In addition to fiction, fans also create artwork depicting media characters in same-sex relationship contexts. Initially, slash art was mostly used in covers and interior pages of fanzines, and sold to other fans at media and slash conventions.
Slash fiction | Slash art
In his book "The Gorehound's Guide to Splatter Films of the 1980s", Scott Aaron Stine stated that "despite cut-rate acting, stilted dialogue, and sometimes-tedious direction, "Satan's Blade" is surprisingly engaging." His review concluded that the film was "pretty typical B-grade slasher fare, even though it's more representative of '70s horror than '80s fare." In "Legacy of Blood: A Comprehensive Guide to Slasher Movies", Jim Harper notes: "Despite the promise of legendary creatures and supernatural goings-on, this is standard stalk'n'slash stuff, with plenty of point-of-view shots to (unsuccessfully) obscure the killer's identity." Joe Yanick of "Diabolique Magazine" wrote: ""Satan's Blade" is firmly entrenched in a genre of so-bad-their-good films and it's hard to see how many would flock to this movie without a heavy veneer of irony.
Satan's Blade | Reception
Vidding has existed in media fandom since the 1980s, and slash vidding is still a popular movement within vidding. Slash vidders take clips of characters (generally ones not written as gay, or in a relationship together), and through juxtaposition, song choice, and other techniques, portray a slash relationship on screen. Vidding used to be very guarded within the slash community, among other reasons, because the songs used in videos are copyrighted. When vidders started putting their videos online, their sites were routinely password protected, etc. Today, there are thousands of vids, and vid-like projects, available on YouTube and other video sites.
Slash fiction | Slash vidding
"Friday the 13th Part 2" sold 7.8 million tickets and "Halloween II" sold 9.2 million. Both sequels sold around half of their original film's tickets, though they were still very popular ("Halloween II" was the second highest-grossing horror film of the year behind "An American Werewolf in London"). Independent companies churned out slasher films "Final Exam", "Bloody Birthday", "Hell Night", "Don't Go in the Woods... Alone!", Wes Craven's "Deadly Blessing" and "Graduation Day". Fantasy and sci-fi genres continued to blend with the slasher film in "Strange Behavior", "GhostKeeper" and "EvilSpeak". The international market found Italy's "Absurd" and "Madhouse" and Germany's "Bloody Moon".
Slasher film | 1981
The election of Ronald Reagan as the 40th President of the United States drew in a new age of conservatism that ushered concern of rising violence on film. The slasher film, at the height of its commercial power, also became the center of a political and cultural maelstrom. Sean S. Cunningham's sleeper hit "Friday the 13th" was the year's most commercially successful slasher film, grossing more than $59.7 million and selling nearly 15 million tickets in North America. Despite a financial success, distributor Paramount Pictures was criticized for "lowering" itself to release a violent exploitation film, with Gene Siskel and Roger Ebert famously despising the film.
Slasher film | 1980
Critics, such as Pat Gill, see "Halloween" as a critique of American social values. She remarks that parental figures are almost entirely absent throughout the film, noting that when Laurie is attacked by Michael while babysitting, "No parents, either of the teenagers or of the children left in their charge, call to check on their children or arrive to keen over them." Another major theme found in the film is the dangers of premarital sex. Clover believes that killers in slasher films are fueled by a "psychosexual fury" and that all the killings are sexual in nature. She reinforces this idea by saying that "guns have no place in slasher films" and when examining the film "I Spit on Your Grave" she notes that "a hands-on killing answers a hands-on rape in a way that a shooting, even a shooting preceded by a humiliation, does not." Equating sex with violence is important in "Halloween" and the slasher genre according to Pat Gill, who made a note of this in her essay "The Monstrous Years: Teens, Slasher Films, and the Family".
Halloween (1978 film) | Themes