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For the past seven years, the Slasher Film (alternatively called the "Woman in Danger Film) has performed extremely well at the box office. [open notes in new window] In a 1981 news article, Variety claimed that 30% of all the new movies involved horror or violent themes. Most prominent in this group have been WHEN A STRANGER CALLS (1979), SILENT SCREAM (1980), HE KNOWS YOU'RE ALONE (1980), PROM NIGHT (1980), FINAL EXAM (1981), HAPPY BIRTHDAY TO ME (1981), MY BLOODY VALENTINE (1981), STUDENT BODIES (1981), PSYCHO II (1983), BODY DOUBLE (1984), A NIGHTMARE ON ELM STREET (1984), and CAREFUL, HE CAN HEAR YOU (1984), as well as I SPIT ON YOUR GRAVE (1980), a special case which I will mention later. This, of course, represents only a partial list. Sequels and spin-offs abound, as well as other films which incorporate violence against women but which do not posit this theme as the central action.
First, some general observations about the Slasher Films. The majority of these works focus on a female protagonist, which sets them apart from the traditional Horror Film, which centers on a male protagonist. Thus the presence of the female body dominates the screen as in pornography or the men's magazines. In most films the central character (and sole survivor) is sexually innocent (for example, HALLOWEEN, FRIDAY THE 13th, and PROM NIGHT). As a foil to this character, other female characters are more sexually active. The threat in these films comes from an unknown, frequently unseen, assailant who victimizes the innocent heroine in a variety of ways. Often we share the assailant's perspective through subjective tracking, point of view shots. This sets the Slasher Films apart from older Horror Films where audiences, through camera angles and editing, tend to identify with the victims. By placing us in the position of the attacker, frequently aided by the sounds of breathing, we become accomplices to the crime. As most of the assailants are male (the exceptions tend to be previously victimized women), the films seem to be constructed to capitalize on male anger toward women and to allow for an easy identification of the male viewer with the assailant. It is my assumption, however, that female viewers react with terror, and this assumption is similar to Peter Michelson's interpretation of the double reading of The Story of O. Michelson writes:
The question arises: Where does misogyny, which finds expression in pornography, derive from, and why has it become so pervasive at this time? In trying to come to terms with this phenomenon of misogyny, writers have drawn upon the works of Freud and his later interpreters. For example, a concise psychoanalytic explanation is offered by Susan Lurie in "Pornography and the Dread of Women: The Male Sexual Dilemma":
"Because men are afraid that their lovers, being women, may harbor the castrating power they fear from their mothers, and because the experience of sexual intercourse complicates matters with its physical analogs to 'castration and the revelation of a female sexuality less vulnerable than the male's,' the Sphinx (the hostile female principle) enters the picture most dangerously in the context of male adult loving/sexual unions with women. For sexual intercourse is the paradoxical occasion that both promises to celebrate male phallic individuality and threatens to annihilate it."
Thus the child develops an anger against the mother and a fear of her power, which sometimes results in a fear of being possessed. The child also comes to recognize that the source of his/ her sustenance lies outside of him/ herself. This source, women, comes to embody the power of life and death. For the female child, however, this source is not an "Other."
Another way to gain control is to reverse the process of female power and to gain control over women. One means is to dominate women socially, politically and economically, which men have done. Another is to control female sexuality, which during intercourse remind a man of his former vulnerability and also of present loss of strength after ejaculation. Further, the man can feel a desire to castrate, based on what Norman O. Brown calls the child's fantasy that this is what mother wishes or could do. Mutilating women thus can become a means of protecting self and reversing the threat. John Updike has put it very succinctly: "We want to fuck what we fear." But as Robert May points out in a recent book entitled Sex and Fantasy, "To try to do so, however, lands him on a treadmill of endless repetition" (a feature of most pornographic texts).
"He will discover that authority over a woman or women is a mark of status, respected by men. This discovery will help him reconcile what were once competing wishes: the wish for secure access to certain essential emotional resources, which in his experiences reside in females, and the wish to take part in certain essential human activities, which in the wold he now enters are defined as male."
As most pornography is created by men to be consumed by men, it necessarily calls upon male fantasy structures. In its depiction of sexuality, it reproduces the sexual world as men would have it. And it gives full play to their fears and desires, especially since the genre has minimal character or narrative development. Thus we find willing female sex partners with little subjectivity of their own, often objectified as the infant objectified the mother or females in his early auto-erotic fantasies.
I would like now to turn to one film, THE SEDUCTION, in order to point out the ways in which this work partakes of the elements of both pornography and the Slasher Films and makes transparent the roots of the misogyny which generate both genres. Most specifically, I would like to demonstrate how the depiction and treatment of women derives in part from the tradition of pornography and in part from the realities of a post-women's liberation era. Finally, I will offer some comments on how these conflicting tendencies and contradictions evolve within the text and how the film as a whole offers a position for both male and female viewers.
Like the majority of pornographic works and the new Slasher Films, the central character is a female, in this case Jamie Douglas. As is typical of females in many of the Slasher Films, Jamie is an independent woman (note the typically male first name). She holds an important job as a California anchor, earns a high salary, lives alone in a luxurious house on a hill with an indoor swimming pool, and is not married. She seems highly attractive, combining the most sought-after features of the American beauty: blond hair, long legs, and a thin body. She asserts, "I have everything in life I really want," a narrative invitation of "hubris."
Both nude scenes reaffirm the erotic, seductive power of women, which create desires that must be satisfied either freely or through control and submission. If the man cannot have fulfillment, then women must be punished. Working out this assumption constitutes the remainder of the plot.
A third element in this work, foregrounded briefly and then dropped, is the source of Jamie's sexual power and of Derrick's problems, namely, "mother." Derrick has his room papered with images of Jamie, huge faces and bodies which look down on him like a primal earth mother. In an early scene Derrick, who earns his living as a photographer, is trying to photograph a young boy (at this point some will recognize the film's indebtedness to Michael Powell's PEEPING TOM, although there the problem was "father," not "mother"). On hand is a meddlesome, dominating mother. Though Derrick and his female assistant try to elicit some emotion from the child, as one character notes, "How can anyone smile with a mother like that?" Mother as the source of male hatred toward women surfaces in several "Slasher" films, most horrifyingly in DON'T GO IN THE HOUSE. The relation between early attitudes toward mother and later sexual responses has already been mentioned.
Derrick begins his assault on the telephone; later he breaks into Jamie's house to photograph her. As we have come to understand through the study of the gaze, he who controls the look exerts a power over the object. And men have traditionally controlled the look. John Berger wrote: "Men look at women. Women watch themselves being looked at." Further, male control of the gaze and voyeurism can often be a prelude to later violent action as in Hitchcock's MARNIE and PSYCHO and Powell's PEEPING TOM. From ogling to visual undressing, men use their eyes to initiate and press their attentions on women. With the substitution of the camera, man makes permanent the capture and possession of the female image, not to mention the introduction of the phallic object. Woman as the object of the male gaze is the most normative feature of pornography. Women posing, women on display, and male voyeurism occur in various forms.
In a sense, Derrick has created his own pornography from the stolen images of Jamie. These line the walls of his laboratory where he can possess them in the privacy of his own dark and secret place, the site of auto-erotic desire.
It makes Derrick angry that Jamie is willing to go before thousands of viewers to be on public display but resists his capturing her private image. He thinks that women who appear in public should be available to him because their presence arouses their desirability in his mind. He suppresses the fact that women have wills of their own.