Please enable JavaScript.

Coggle requires JavaScript to display documents.

Redo lit rev, Survival horror - Coggle Diagram

- - - - Petridis (2019) slashers defined by/we expect narrative focussed around a killer of some kind, hunting and attacking a group of victims. Elements can change but still identified as a slasher.
  - - - Clover phases before and after TCM
      - Dika slasher in two parts, past event of the killer and present event in which they return.
      - Clover key elements
        
        Rockoff more flexible elements
    - - base theory (WHO?)
        
        Waldron (2022) highlights role of the publicity surrounding serial killers (Gacy) on construction of 1980s horror. Must consider publicity of serial killers and criminals, as awareness of of these crimes becmae more public knowledge 1970s and 1980s.
  - - - Clover difficult to assign an all encompasing definition of model of occutl horror due to variations. Key component is the interplay between two methods of expalanation white science and black magic. White science idea of western rational, white doctors etc. Black magic form of occult, satanism catholicism vood spiritualism. White science ascribed to white men, black magic by poc women and children. Black magic-third world people, when presented by white man from the perpective of education/research.
        
        both explanations battle but the supernatural magic is often true and the medical science fails to whelp/useless. Exorcist beleiver combines both science, catholicism and hoodoo
        
        Borrows term black magic from Serpent and the Rainbow. Issues with the term to cover both catholics satanists and vodouist, not wanting to be lumped together.
        
        Huckvale (2018) importance of distinction between magic and religion. Religion predominantly based in moral structure and establishing social order. Magic independent of established social structure, allowing individualr power without intervention of god or deity.
        
        : :fire: ME: occult film often assigns morality in cases of magic or non-religious occult, I use terms medical science and supernatural magic instead of black magic and white science
      - Olsen and Reinhard (2016) in discussion of possesses women focus on exorcism as a form of subcategory of Clover's occult horror.
- - - - Gross (1995) representation of 'plain gay folks', in this representation queer people will bevome norma;osed through social transformation.
      - Raymond (2010) builds on assumption of normalization and 'plain gay folk' is key to positive image of queer people.
  - - - JR Williams
      - Leung
      - Keegan
    - - Benshoff categories
        
        Films w/ identifiable gay and lesbian characters. (doesn't specify what identifiable means, but likely means lablled through action or dialogue)
        
        :fire: CRITICISM
        
        Bradshaw (2021)mentions role of coming out in media and historical association between silence and the closet.
        
        :fire: Me; expanding on their highlight of coming out, character doesnt entirely centre around their sexuality, how should coming out be handled within narrative context? Queer characters not condensed to sexuality, important to consider how q and t effects the way on interacts with society. Example: coming is not one-and-done, come out repeatedly. Can have verbal confirmation without it being the first coming out or big narrative moment.
        
        Media with subtextual or connotative representation of gay and lesbian characters. Characters exist on the fringe of the text, queerness is implied through typification and coding. How are they read?
        
        :fire: CRITICISM
        
        Media that a queer spectator reads as queer through ability to identify queerness
        
        :fire: CRITICISM
        
        Doty (1993) queer reading and queer spectator. Queer reading process of viewing and reading un-confirmed queer character as queer in search of rep. Suggests rep is queer coded in subtle way, in the closet. Hidden from non-queer viewer, don't search for signifiers and typification.
        
        Findlay (1994) how we use signifiers to identify invisible queer identities, gaydar is just keen reading of cultural signs and signifiers.
        
        Gross (1995) contextual representation is often subtle to point of being readily misunderstood by 'innocent', those who don't look for do not see it.Differences in codes and signiers as read by those within the queer community in comparison to codes used by cishet. learned through exposure to community.
        
        : :fire: Me: are these codes so ingrained now? are they the same or evolved?
        
        Raymond (2010) note impact of Doty work, opportunities for seeing queer rep in mainstream media 1990s.
      - Typification
        
        Dyer (1993) we can often recognise a character's queerness without explicit confirmation of sexuality by using queer visiual typification.
        
        Crossman (2017) typification: reading traits and attributes, is necessary in social world, using assumptions to access those around us. form mental prototype yada yada. How much is harmful antiquated stereotyping vs required social typification stereotyping?
        
        Shapiro (1981) and Tuchman (1978) importance of media perpetuating ideology.
        
        Sender (2004) talks about marketing towards lgbtq+ community, importance of typification and stereotypes in queer visibility, extra reliance on stereotypes in advertising. Audience must make quick assessment of characters and situations
        
        :fire: Me: do we need to use stereotypes in a 1.5/2 hour film vs 30s advert.
      - Semiotics
        
        Metz (1974) pioneer in semiotics, films communicate visually as an art form, like a language. Audiences examine signifiers and evalute denotative semiotics (literally hear/see) all semiotics carry connotative semiotics (implied info based on presence/form). Semoitics often used in analysis of genre media, codes and conventions allow audience to read adn understand film. Reliance on visual storytelling.
        
        :fire: Me: could a stereotype be seen as a visual cue?
  - - - Parvulescu (2017) says Edelman doesnt consider feminism or material feminism in his analysis. Labour from women in the story.
        
        :fire: Me: Considering the woman as a sinthomosexual. Reproductive labour pushed to others or is she reproductive and non-reproductive at the same time.
        
        :fire: Me: Sapphic/sinthsapphic reproductive futurism
    - - Death drive - Freud () and Lacan () - biological desire to return to inorganic, engaging in self destructive behaviour and reliving trauma.
        
        Shubart (2018) horror as mental edgework, connected to the death drive? Danger from a position of safety.
- - - - Bogutskaya (2023) discusses representation of female characters the express themselves in a way that labels them unlikable. Character types 'the bitch' and 'the angry woman', in which fem characters act in a way that is considered masculine and therefore unlikeable. The unspoken rules of how woemn are expecte to act and express themselves. Bolstered by idea of what is 'proper' or 'ladylike'.
        
        :fire: Me: (Barbie movie monologue) Balancing act. Transgressing too far in either direction become unlikable. Final girl in her expression of mas and fem could be read as the likable woman, her expression of fem is widely acceptable whilst masc enough to not become unlikeble. Does not challenge audience too much by unlikable, more easily aligned with.
      - Schubart (2018) edgework, cross-gender identification is not essential to understanding horror as play. Rejects neurosexist (Fine, 2010) presumption that men and women experience differing emotions biologically. Cites Baron-Cohen (2004) as an example of the search for emotional differences between sexes. B-C suggestion that the female brain is predominantly hardwired to feel and express empathy, whereas male brain is suited to understaning and building systems. Schubart insists that men and women both experience aggression to the same degree and the levels to which people feel comfortable expressing aggression is based on gender dichotomy.
        
        Schubart discussed bioculturalism, suggests meta-narratives that influence view on gender. Notion of hunter/gather dichotomy assigned to men and women. Been disproved but bolsters construction of difference in gender even if inaccurate. Myth adn neurosexism impacts the final girl (reading and discussing).
        
        :fire: Me: would this even be a discussion if the final survivor trend wasn't a girl? Would we question his masculinity.
        
        Schubart rejection of essentialism and insistance on the role of social constructivism, in which gender is entirely learned. Highlights an issues in Clover's description of the final girl's gender expression. What traits are assigned masculine? If the final girl is aggressive in her fight against the monster or killer, does this equate to masculine behaviour outside of traditional gender norms. If Clover is basing expressions of gender within the slasher on prevailing gender roles of the contextual societal climate, then how is the final girl's expression read by audiences, particualry queer and trans audiences who likely have differing perspectives on gender.
        
        Mackay (2021) discusses the gender expression of lesbian who identify as butch but not trans, building upon Halberstam (1998) idea of 'female masculinity'. Mackay notes term 'female masculinity' is not seamless in 'post-trans' landscape but it does highlight the presesnce of female-bodied masc individuals who don't identify as trans men.
        
        :fire: Me: considering expression of masculinity, with horror characters, it is important to consider, masc identifying female speactator and their potential reading of gender. They are aware of traditional norms, whet the consider too masc expression for a woman is different
      - Bogutskaya (2023) notes society's perception of violence or aggression at the hands of women. Woman's violence on screen often requires justification, desperation/revenge etc. Her aggression is linked to survival. Bogutskaya women not viewed as violent by nature. Murder or violence on screen requires justification.
        
        Waldron (2022) highlights role of the publicity surrounding serial killers (Gacy) on construction of 1980s horror. Must consider publicity of serial killers and criminals, as awareness of of these crimes becmae more public knowledge 1970s and 1980s. Same as 9/11 effecting horror of certain period. (FIND THEORIST)
        
        Bogutskaya notes influence of serial killers in violent media, several variations of Bundy. Minority of female serial killers/less publicity or discomfort with violence by women. Highlights rape-revenge genre as symptom of suffering to justify violence.
  - - - Schubart disagrees, talks about relationship between horror and women. EXPAND :explode: :explode:
      - :fire: THIS IS A HUGE POINT AND NEEDS BUILDING ON, CAN'T YOU SAY THE SAME ABOUT QUEER PEOPLE, IS EVERYTHING MARKETED AT MEN? THIS SHOULD BE A BIGGER LIT REV DISCUSSION AND DICSUSSION IN GENERAL. : :explode: :explode:
      - Burston and Richardson (2005) say Mulvey's male gaze leaves no space form women in mainstream media. (As audiences?) Misues of male gaze theory, shorthand for voyerism implicit in spectatorshi[ and objectification of women onscreen. Foucault and panopticon and internalisation of inspecting gaze. Queer desire challenges Mulvey's framework. 'Cultural competence' of lesbain specators, influences read and experience and knowledge.
        
        they point out that: Stacey (1987) in discussing gaze fails to address the formation of desire through the interaction between desire and identification.
        
        De Lauretis (1985???) argues Stacy's appraoch desxualises the lesbian spectator, instead focusses on psychoanalytic narcissim
- - - - Life events not universal different in cases of queer and trans people. Freeman (2010) Introduces chrononormativity, idea that we all follow the same time line in life.
        
        : : : :fire: Me: Wanna approach these life events with rejection of chrononromativity, using Halberstam's queer time (2005).
  - - - Clover (1992) portals. Role of the throat and mother throat within possession narrative in occult film, evil enters the body throught these openings. Folk belief that sneezing or orgasm opens the body to the devil, openess is why more women possessed. Clover says when the male body serves as portal the character is coded feminine, suggesting possession is feminine experience.
  - - - :fire: Me: discussing Survival Horror and gender it is important to problematise where abjection is formed and how spectator may fins abjection in different elements of narrative or characterisation.
      - :fire: Me: discuss the abjection of the trans monster and victim. How does Creed's suggestion of abjection of the male body through action associated with female body interact with the trans or non-b body.
    - - Pugh (2007) Evil Dead queering Ash's body becomes possessed and births Evil Ash through shoulder vagina. Highlights gendering of birth and shift in Ash's gender expression, focus more on the queered body as related to Ash's masculinity. DOn't consider trans reading.
        
        :fire: Me: this research consider gendering of birth and pregnancy of physical body as possession from queered perspective. Extrapolate of themes of birth and motherhood in Evil Dead. LINK BACK TO PREDATION.