Also, what is the licensing for that image?

They very fact we can have such a good back and forth on this topic would help to prove my initial point – Slashers are much more than pornography and deserve more respect than they get. They can be more than just boobs and kills – though when I'm not waxing poetic, those are my favorite parts.

They very fact we can have such a good back and forth on this topic would help to prove my initial point – Slashers are much more than pornography and deserve more respect than they get. They can be more than just boobs and kills – though when I'm not waxing poetic, those are my favorite parts.

They very fact we can have such a good back and forth on this topic would help to prove my initial point – Slashers are much more than pornography and deserve more respect than they get. They can be more than just boobs and kills – though when I'm not waxing poetic, those are my favorite parts.

It's a fascinating topic. To respond to your response: you're right that the women who survive are socially outcast and frequently put down for their refusal to engage in such transgressive desire.

My point is that the transgressive desires are not intrinsically bad, and slasher films paint feminine sexuality as something to be fearful of and avoid. That may seem a broad interpretation, but we're dealing in a broad genre with broad characterizations. A great deconstruction of female empowerment occurs in Tarantino's "Death Proof," where the second round of women survive not because they're virginal, but because they refuse to be diminished by male power (this also occurs in "Scream").

It's a fascinating topic. To respond to your response: you're right that the women who survive are socially outcast and frequently put down for their refusal to engage in such transgressive desire.

My point is that the transgressive desires are not intrinsically bad, and slasher films paint feminine sexuality as something to be fearful of and avoid. That may seem a broad interpretation, but we're dealing in a broad genre with broad characterizations. A great deconstruction of female empowerment occurs in Tarantino's "Death Proof," where the second round of women survive not because they're virginal, but because they refuse to be diminished by male power (this also occurs in "Scream").

So the horror film, in true empowerment style, says cast off societies expectation, ignore the societal peer pressure of those girls next to you who are demeaning themselves….

So the horror film, in true empowerment style, says cast off societies expectation, ignore the societal peer pressure of those girls next to you who are demeaning themselves….

So the horror film, in true empowerment style, says cast off societies expectation, ignore the societal peer pressure of those girls next to you who are demeaning themselves….

Regarding morality plays: you make a good point, but at least there is almost always a lesson to learn in slashers – at least the good ones. If you accept the tale as a moral homily, it shows young women and men how not to behave. Do you think of The Twilight Zone as morality plays? Or do you limit the tag to Medieval European plays?

Regarding stupidity: A little nonsense now and then is relished by the wisest men.

Wait, am I defending Fure? Nevermind. Scratch all that. Reverse it.

Regarding morality plays: you make a good point, but at least there is almost always a lesson to learn in slashers – at least the good ones. If you accept the tale as a moral homily, it shows young women and men how not to behave. Do you think of The Twilight Zone as morality plays? Or do you limit the tag to Medieval European plays?

Regarding stupidity: A little nonsense now and then is relished by the wisest men.

Wait, am I defending Fure? Nevermind. Scratch all that. Reverse it.

Regarding morality plays: you make a good point, but at least there is almost always a lesson to learn in slashers – at least the good ones. If you accept the tale as a moral homily, it shows young women and men how not to behave. Do you think of The Twilight Zone as morality plays? Or do you limit the tag to Medieval European plays?

Regarding stupidity: A little nonsense now and then is relished by the wisest men.

Wait, am I defending Fure? Nevermind. Scratch all that. Reverse it.

Notions of slashers as a morality play seem disingenuous. Morality plays, in their original form, were about a main character learning from the errors and temptations of others, but final girls in horror films are not cognizant of how their morals impacted their survival. They're too busy screaming and running. A more realistic version of the morality play is a film like "Phone Booth," where the side characters offer perspective and review of a moral lifestyle and provoke change or understanding. Moral undercurrents do not intrinsically make a film a "morality play."

Women are utilized as heroines in horror films, yes, but are they empowered? Let's think of the traditional cliches of slashers. Apart from the final girl, the majority of women are sluts who bare their breasts and engage in sex; then they die. This creates something of a paradox for the charge of women being "empowered." On the one hand, women can be empowered, but only if they bury any type of transgressive desire. On the other hand, those who assert themselves sexually meet a grisly fate.

That's without getting into the hypocrisy of "empowering" women in a movie where sex scenes are created specifically to titillate a dominantly male crowd.

After watching "Going to Pieces," I lost much of what little interest I had in slasher films. There are good ones out there, as I said. "Black Christmas," "Halloween," the first and last "Nightmare" films, "Scream," and "Behind the Mask" strike me as examples that rise above their dubious inspirations. Articles like this read, to me, like justification for the embrace of stupidity.

Notions of slashers as a morality play seem disingenuous. Morality plays, in their original form, were about a main character learning from the errors and temptations of others, but final girls in horror films are not cognizant of how their morals impacted their survival. They're too busy screaming and running. A more realistic version of the morality play is a film like "Phone Booth," where the side characters offer perspective and review of a moral lifestyle and provoke change or understanding. Moral undercurrents do not intrinsically make a film a "morality play."

Women are utilized as heroines in horror films, yes, but are they empowered? Let's think of the traditional cliches of slashers. Apart from the final girl, the majority of women are sluts who bare their breasts and engage in sex; then they die. This creates something of a paradox for the charge of women being "empowered." On the one hand, women can be empowered, but only if they bury any type of transgressive desire. On the other hand, those who assert themselves sexually meet a grisly fate.

That's without getting into the hypocrisy of "empowering" women in a movie where sex scenes are created specifically to titillate a dominantly male crowd.

After watching "Going to Pieces," I lost much of what little interest I had in slasher films. There are good ones out there, as I said. "Black Christmas," "Halloween," the first and last "Nightmare" films, "Scream," and "Behind the Mask" strike me as examples that rise above their dubious inspirations. Articles like this read, to me, like justification for the embrace of stupidity.

Notions of slashers as a morality play seem disingenuous. Morality plays, in their original form, were about a main character learning from the errors and temptations of others, but final girls in horror films are not cognizant of how their morals impacted their survival. They're too busy screaming and running. A more realistic version of the morality play is a film like "Phone Booth," where the side characters offer perspective and review of a moral lifestyle and provoke change or understanding. Moral undercurrents do not intrinsically make a film a "morality play."

Women are utilized as heroines in horror films, yes, but are they empowered? Let's think of the traditional cliches of slashers. Apart from the final girl, the majority of women are sluts who bare their breasts and engage in sex; then they die. This creates something of a paradox for the charge of women being "empowered." On the one hand, women can be empowered, but only if they bury any type of transgressive desire. On the other hand, those who assert themselves sexually meet a grisly fate.

That's without getting into the hypocrisy of "empowering" women in a movie where sex scenes are created specifically to titillate a dominantly male crowd.

After watching "Going to Pieces," I lost much of what little interest I had in slasher films. There are good ones out there, as I said. "Black Christmas," "Halloween," the first and last "Nightmare" films, "Scream," and "Behind the Mask" strike me as examples that rise above their dubious inspirations. Articles like this read, to me, like justification for the embrace of stupidity.