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Generations of misrepresentation and mistreatment of women in the horror…

- - - - “Admittedly, hyperbolic responses to the ‘emancipated woman' were ever-present in early '70s horror, and men's fears either materialized as murderous, lust-filled females, or found relief in the reinforcement of pre-existing woman as helpless victim' stereotypes” (Janisse 3)
        
        House of Psychotic Women - Kier-La Janisse
    - - “When I first started edging into film writing in the mid-'90s, I was all about girl-power; how horror films (even slasher films) were empowering to women, how most horror films were about men's anxieties concerning the nature of femininity and female sexuality, gender relations, castration anxiety - all this great, meaty stuff. I saw positive female representation in everything, no matter how ostensibly reprehensible the film's politics. For a female horror/exploitation film fan, that's a great place to start; certainly much more productive than denouncing the genre altogether as some counter-revolutionary, misogynist exercise in populist entertainment” (Janisse 3)
      - “But just as men struggled to adapt to this practical exercise in equality of the sexes, so did women, many of whom were opposed to the feminist movement from the outset, or were at least comfortable enough in their existing life- styles to find it a distinct threat. After all, feminism was critical of them. It accused them of being complacent, mindless, de- pendent upon men for both money and self-worth. It saw them as weak and shameful” (Janisse 3)
  - - - “Through this analysis, we found that after #MeToo, stories developed by Weinstein-associated producers were more likely to defy traditional gender stereotypes than those developed by producers without an association with Weinstein”
        
        Measuring the Impact of #MeToo on Gender Equity in Hollywood
- - - - "When they pass the security stand, Billy sees that Mr. Polk security has a copy of the sports illustrated swimsuit issue on his lap. There's a bodacious babe on the cover, and billy makes a mental note to pick one up. The dumb self likes sports, and he likes babes" (King 37).
  - - - “Masculine roles such as the antagonist or monster figure are upheld by a male or a masculinised female, whereas women are more than often the victims of highly sexualised violence”
      - “They are strategically placed in the midst of chaos or in a cold and indifferent world—and only Antonioni’s brooding heroines can provide insight into such existential quandary and angst.”
    - - "Historical representations of women in horror cinema can be overall perceived as chiefly negative due to the hegemonic cultural practice of gendered stereotypes."
- - - - “The losers wound their way through the bamboo in the barrens in this order: Bill; Richie; Beverly behind Richie, walking slim and pretty in blue jeans and a sleeveless blouse, zoris on her feet…” (King 690).
      - “Men, regardless of their age, tend to say women in their early 20s look best, while women are most attracted to men their own age”
      - “He could remember (now he could remember) glancing up there for no reason at all one day when he was eight or nine and looking right up the chino skirt of a pretty high-school girl and seeing her clean pink underwear. As the sudden sunlit glint of Beverly Marsh's ankle-bracelet had shot an arrow of something more primitive than simple love or affection through his heart on the last day of school in 1958, so had the sight of the high-school girl's panties affected him” (King 546).
      - “For one thing, it proved he was still an adult, and the fact that the girl was clearly braless under her thin Western-style shirt was also more relief than turn-on: if proof that this was 1985 and not 1958 was needed, the clearly limned points of her nipples against the cotton of her shirt was it” (King 548).
    - - "It simply is the, mostly male, gaze that puts female characters into certain categories... 'That changed the way horror films were being perceived and put the focus on the female characters, especially the last girl standing'”
        
        BEYOND THE BLOOD: CHANGING THE NOTION OF WOMEN IN HORROR MOVIES
      - “The beautiful women in Antonioni films are not only alluring “objects” but also visionary pathways to the human soul. Thus, Antonioni befittingly considers women the “more subtle filter of reality” and “more in tune with their feelings and therefore more honest” (qtd. in Chatman 35)”
  - - - “Before I start every book, I think of Jack Nicholson's line from As Good As It Gets. Someone asks him, 'How do you write women so well?' and he says, 'I think of a man and I take away the reason and the accountability.'”