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In “Men, Women, and Chainsaws,” Clover argues that many horror movies, especially slashers, rely on a woman (“final girl”) as a protagonist who will be the vehicle for being terrified by a man or masculine threat with a phallic weapon (knife, gun, chainsaw, etc) that he uses to penetrate people. She also argues part of this is about the window of acceptable gender expression - an actress can show fear through screaming, tears, trembling, and more that the audience will accept and empathize with in a way that a man as a character would be seen as weak, inferior, deserving of punishment.
So…the audience is using the stereotypical bottom/submissive gender role to experience thrills being done to them by a masculine figure with a phallic object.
HORROR IS FOR BOTTOMS
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Okay, so hear me out:
1) Horror is, for many viewers, a way to experience fear and scares in a situation where they know they are safe. It’s a thrill ride or a roller coaster.
2) Bottoming and subbing for BDSM and kink often involves having someone do something to you that is thrilling, risky, or would be scary in a different circumstance in a way where you know you are safe. It’s a thrill ride of a sorts.
3) Both require submitting yourself to someone who is going to drive and direct the experience you have. They will do things to you that make you scream, giggle, react. And you have to consent/suspend disbelief for the experience to work. -
Hot take: Horror is a genre primarily for bottoms. 🤭
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Hot take: Horror is a genre primarily for bottoms. 🤭
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Hot take: Horror is a genre primarily for bottoms. 🤭
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Hot take: Horror is a genre primarily for bottoms. 🤭
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Hot take: Horror is a genre primarily for bottoms. 🤭
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Today, I'm chewing on Kate Manne's theory of misogyny as a social force for policing the roles of "human giver" and "human being" in what it has to say about the shapes of transmisogyny. I'm not sure if others have developed it in this way, but here's the thoughts it spurred in me.
It's especially this summary of Manne's framework in Nagoski & Nagoski's "Burnout" that got me thinking:
"Kate Manne describes a system in which one class of people, the “human givers,” are expected to offer their time, attention, affection, and bodies willingly, placidly, to the other class of people, the “human beings.” The implication in these terms is that human beings have a moral obligation to be or express their humanity, while human givers have a moral obligation to give their humanity to the human beings." (Nagoski & Nagoski, p. 8)
Of course, cis women are expected to be and socialized into the role of "human giver" while cis men are expected to be and socialized into the role of "human being," and if a woman should choose to act as a human being, rather than solely a giver, she is then punished - this is how the system of misogyny is enforced.
#TransFem #TransWomen #Transmisogyny #Trans #Feminism #TransFeminism
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Today, I'm chewing on Kate Manne's theory of misogyny as a social force for policing the roles of "human giver" and "human being" in what it has to say about the shapes of transmisogyny. I'm not sure if others have developed it in this way, but here's the thoughts it spurred in me.
It's especially this summary of Manne's framework in Nagoski & Nagoski's "Burnout" that got me thinking:
"Kate Manne describes a system in which one class of people, the “human givers,” are expected to offer their time, attention, affection, and bodies willingly, placidly, to the other class of people, the “human beings.” The implication in these terms is that human beings have a moral obligation to be or express their humanity, while human givers have a moral obligation to give their humanity to the human beings." (Nagoski & Nagoski, p. 8)
Of course, cis women are expected to be and socialized into the role of "human giver" while cis men are expected to be and socialized into the role of "human being," and if a woman should choose to act as a human being, rather than solely a giver, she is then punished - this is how the system of misogyny is enforced.
#TransFem #TransWomen #Transmisogyny #Trans #Feminism #TransFeminism
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Today, I'm chewing on Kate Manne's theory of misogyny as a social force for policing the roles of "human giver" and "human being" in what it has to say about the shapes of transmisogyny. I'm not sure if others have developed it in this way, but here's the thoughts it spurred in me.
It's especially this summary of Manne's framework in Nagoski & Nagoski's "Burnout" that got me thinking:
"Kate Manne describes a system in which one class of people, the “human givers,” are expected to offer their time, attention, affection, and bodies willingly, placidly, to the other class of people, the “human beings.” The implication in these terms is that human beings have a moral obligation to be or express their humanity, while human givers have a moral obligation to give their humanity to the human beings." (Nagoski & Nagoski, p. 8)
Of course, cis women are expected to be and socialized into the role of "human giver" while cis men are expected to be and socialized into the role of "human being," and if a woman should choose to act as a human being, rather than solely a giver, she is then punished - this is how the system of misogyny is enforced.
#TransFem #TransWomen #Transmisogyny #Trans #Feminism #TransFeminism
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Today, I'm chewing on Kate Manne's theory of misogyny as a social force for policing the roles of "human giver" and "human being" in what it has to say about the shapes of transmisogyny. I'm not sure if others have developed it in this way, but here's the thoughts it spurred in me.
It's especially this summary of Manne's framework in Nagoski & Nagoski's "Burnout" that got me thinking:
"Kate Manne describes a system in which one class of people, the “human givers,” are expected to offer their time, attention, affection, and bodies willingly, placidly, to the other class of people, the “human beings.” The implication in these terms is that human beings have a moral obligation to be or express their humanity, while human givers have a moral obligation to give their humanity to the human beings." (Nagoski & Nagoski, p. 8)
Of course, cis women are expected to be and socialized into the role of "human giver" while cis men are expected to be and socialized into the role of "human being," and if a woman should choose to act as a human being, rather than solely a giver, she is then punished - this is how the system of misogyny is enforced.
#TransFem #TransWomen #Transmisogyny #Trans #Feminism #TransFeminism
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Today, I'm chewing on Kate Manne's theory of misogyny as a social force for policing the roles of "human giver" and "human being" in what it has to say about the shapes of transmisogyny. I'm not sure if others have developed it in this way, but here's the thoughts it spurred in me.
It's especially this summary of Manne's framework in Nagoski & Nagoski's "Burnout" that got me thinking:
"Kate Manne describes a system in which one class of people, the “human givers,” are expected to offer their time, attention, affection, and bodies willingly, placidly, to the other class of people, the “human beings.” The implication in these terms is that human beings have a moral obligation to be or express their humanity, while human givers have a moral obligation to give their humanity to the human beings." (Nagoski & Nagoski, p. 8)
Of course, cis women are expected to be and socialized into the role of "human giver" while cis men are expected to be and socialized into the role of "human being," and if a woman should choose to act as a human being, rather than solely a giver, she is then punished - this is how the system of misogyny is enforced.
#TransFem #TransWomen #Transmisogyny #Trans #Feminism #TransFeminism
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Please boost above! And please check above poll if you’re following #transgender #trans #transfem #transmasc #nonbinary #enby #TGD #queer
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CW: FemRevenge: Even Lambs Have Teeth (Reaction 2/?)
Oh, thank goodness, Jason is out of the film after the first scene. My sweet boy is safe from becoming a villain, we can all breathe out now.
Okay, this movie is genuinely really well made and grabs me from the get go. Definitely faster paced, and has fun witty dialogue that can almost be Whedon or Tarantino-esque at times, which I am a sucker for.
Had to pause to run an errand and was genuinely hard to walk away from, despite the harrowing content.
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CW: FemRevenge: Even Lambs Have Teeth (Reaction 1/?)
Next up for the #FemRevengeFlick marathon is “Even Lambs Have Teeth” (2015).
Again, I know almost nothing about this film, so let’s see what happens!
Anywho…movie starting, friends hanging out in rural area….wait, is that….it’s Jason from the Good Place! Oh Jason, please don’t do something horrible. I don’t know what I’ll do if my precious, naive Molotov cocktail thrower does something evil. 😅
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CW: FemRevenge: Even Lambs Have Teeth (Reaction 1/?)
Next up for the #FemRevengeFlick marathon is “Even Lambs Have Teeth” (2015).
Again, I know almost nothing about this film, so let’s see what happens!
Anywho…movie starting, friends hanging out in rural area….wait, is that….it’s Jason from the Good Place! Oh Jason, please don’t do something horrible. I don’t know what I’ll do if my precious, naive Molotov cocktail thrower does something evil. 😅
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CW: FemRevenge: Even Lambs Have Teeth (Reaction 1/?)
Next up for the #FemRevengeFlick marathon is “Even Lambs Have Teeth” (2015).
Again, I know almost nothing about this film, so let’s see what happens!
Anywho…movie starting, friends hanging out in rural area….wait, is that….it’s Jason from the Good Place! Oh Jason, please don’t do something horrible. I don’t know what I’ll do if my precious, naive Molotov cocktail thrower does something evil. 😅
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Oh, and before I forget, in case someone comes across this who actually enjoys or loves the movie Tamara (2005), or got something positive out of it, that's not bad or invalid or something one should feel guilty of. There is enough ambiguity here that I can imagine experiences of this movie that aren't horrible, especially for a teen girl who might have watched it in 2005.
So place all of the above analysis in frame of this being my personal map of the #FemRevenge genre and how I read these films. There are some things in all of these movies that are probably just straightforwardly problematic (e.g. gayness as punishment, rural and working class people as threat to the urban middle class), but that doesn't mean one is awful for enjoying or taking something important from movies like these.
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So, the first two films of this #FemRevenge horror hyperfocus movie marathon really map out a contrast of different possibilities in the genre.
"I Spit On Your Grave" (1978) primarily places us in the gaze of the survivor, it portrays SA as violent and horrible, and the revenge is not equated to the original violence, but is a method for catharsis and restoration on the part of the survivor.
"Tamara" places us mostly in the gaze of the perpetrators, it plays the potential statutory rape of a child like she is an aggressor and rival, the violence done to her is minimized, and the violence she does is equated to the violence done to her. The only people restored in the end are those that the film deems "innocent" and representing status quo norms more or less.
So, when it feels helpful going forward, I'll probably use these two as guideposts or cardinal directions for discussing how movies handle key areas in the Fem Revenge genre, since they map the territory so well.
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So, the first two films of this #FemRevenge horror hyperfocus movie marathon really map out a contrast of different possibilities in the genre.
"I Spit On Your Grave" (1978) primarily places us in the gaze of the survivor, it portrays SA as violent and horrible, and the revenge is not equated to the original violence, but is a method for catharsis and restoration on the part of the survivor.
"Tamara" places us mostly in the gaze of the perpetrators, it plays the potential statutory rape of a child like she is an aggressor and rival, the violence done to her is minimized, and the violence she does is equated to the violence done to her. The only people restored in the end are those that the film deems "innocent" and representing status quo norms more or less.
So, when it feels helpful going forward, I'll probably use these two as guideposts or cardinal directions for discussing how movies handle key areas in the Fem Revenge genre, since they map the territory so well.
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So, the first two films of this #FemRevenge horror hyperfocus movie marathon really map out a contrast of different possibilities in the genre.
"I Spit On Your Grave" (1978) primarily places us in the gaze of the survivor, it portrays SA as violent and horrible, and the revenge is not equated to the original violence, but is a method for catharsis and restoration on the part of the survivor.
"Tamara" places us mostly in the gaze of the perpetrators, it plays the potential statutory rape of a child like she is an aggressor and rival, the violence done to her is minimized, and the violence she does is equated to the violence done to her. The only people restored in the end are those that the film deems "innocent" and representing status quo norms more or less.
So, when it feels helpful going forward, I'll probably use these two as guideposts or cardinal directions for discussing how movies handle key areas in the Fem Revenge genre, since they map the territory so well.
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CW: Fem Revenge: Tamara - Review (9/?)
Lastly, the structure is conflicting and messy when one lays it out.
The story starts with everyone but Tamara feeling safe and normal in a status quo white suburbia. We are asked to empathize with Tamara's experience of not being safe in that setting, but she's also partially blamed for it by being attracted to her teacher. And it's normal for many teenagers to sometimes develop a crush or attraction to an adult in their lives like a teacher, and she shouldn't be blamed for that in my opinion (though it is not excusable for the adults to not treat it as clearly SA at the idea of a teacher taking advantage of that crush...ick ick ick).
The violence is perpetrated by the middle-class, mostly white popular kids. If Tamara was really our protagonist, then this would be more like new horror cinema by framing the familiar as dangerous and monstrous. Instead, from there on the bullies, the teacher, and his wife become the protagonists, and Tamara is the monster. The person who was different and didn't belong in the familiar and status quo was the threat and monstrosity all along. So...we're leaning back towards the old horror structure.
Finally, the heroes of the movie are Chloe, the superego of the film representing the voice of social norms, and the teacher + wife who basically signify the aspiration to nuclear family (since them wanting to have a kid is almost their only personality in the movie). In the end, while one member of the nuclear family dies by sacrificing himself, the superego and half the nuclear family survive, as the magic is ended and the status quo is restored in the familiar world.
This is, basically, a deeply conservative message compared to the Fem Revenge movies that I would argue handle these tropes and criteria better.
To drive the point home, the weapon used by Tamara as a slasher is a teenage girl's sexuality. Basically, it ends almost explicitly stating that feminine sexuality is dangerous and manipulative and must be stopped. And that's it. Ugh.
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CW: Fem Revenge: Tamara - Review (9/?)
Lastly, the structure is conflicting and messy when one lays it out.
The story starts with everyone but Tamara feeling safe and normal in a status quo white suburbia. We are asked to empathize with Tamara's experience of not being safe in that setting, but she's also partially blamed for it by being attracted to her teacher. And it's normal for many teenagers to sometimes develop a crush or attraction to an adult in their lives like a teacher, and she shouldn't be blamed for that in my opinion (though it is not excusable for the adults to not treat it as clearly SA at the idea of a teacher taking advantage of that crush...ick ick ick).
The violence is perpetrated by the middle-class, mostly white popular kids. If Tamara was really our protagonist, then this would be more like new horror cinema by framing the familiar as dangerous and monstrous. Instead, from there on the bullies, the teacher, and his wife become the protagonists, and Tamara is the monster. The person who was different and didn't belong in the familiar and status quo was the threat and monstrosity all along. So...we're leaning back towards the old horror structure.
Finally, the heroes of the movie are Chloe, the superego of the film representing the voice of social norms, and the teacher + wife who basically signify the aspiration to nuclear family (since them wanting to have a kid is almost their only personality in the movie). In the end, while one member of the nuclear family dies by sacrificing himself, the superego and half the nuclear family survive, as the magic is ended and the status quo is restored in the familiar world.
This is, basically, a deeply conservative message compared to the Fem Revenge movies that I would argue handle these tropes and criteria better.
To drive the point home, the weapon used by Tamara as a slasher is a teenage girl's sexuality. Basically, it ends almost explicitly stating that feminine sexuality is dangerous and manipulative and must be stopped. And that's it. Ugh.
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CW: Fem Revenge: Tamara - Review (9/?)
Lastly, the structure is conflicting and messy when one lays it out.
The story starts with everyone but Tamara feeling safe and normal in a status quo white suburbia. We are asked to empathize with Tamara's experience of not being safe in that setting, but she's also partially blamed for it by being attracted to her teacher. And it's normal for many teenagers to sometimes develop a crush or attraction to an adult in their lives like a teacher, and she shouldn't be blamed for that in my opinion (though it is not excusable for the adults to not treat it as clearly SA at the idea of a teacher taking advantage of that crush...ick ick ick).
The violence is perpetrated by the middle-class, mostly white popular kids. If Tamara was really our protagonist, then this would be more like new horror cinema by framing the familiar as dangerous and monstrous. Instead, from there on the bullies, the teacher, and his wife become the protagonists, and Tamara is the monster. The person who was different and didn't belong in the familiar and status quo was the threat and monstrosity all along. So...we're leaning back towards the old horror structure.
Finally, the heroes of the movie are Chloe, the superego of the film representing the voice of social norms, and the teacher + wife who basically signify the aspiration to nuclear family (since them wanting to have a kid is almost their only personality in the movie). In the end, while one member of the nuclear family dies by sacrificing himself, the superego and half the nuclear family survive, as the magic is ended and the status quo is restored in the familiar world.
This is, basically, a deeply conservative message compared to the Fem Revenge movies that I would argue handle these tropes and criteria better.
To drive the point home, the weapon used by Tamara as a slasher is a teenage girl's sexuality. Basically, it ends almost explicitly stating that feminine sexuality is dangerous and manipulative and must be stopped. And that's it. Ugh.
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CW: CW: Eating Disorder - Fem Revenge: Tamara - Review (8/?)
Oh, I forgot, there was another messed up punishment on a character I forgot to mention because she is so underdeveloped. Literally, I don't think she has a single page of lines in the entire film. Her role is "head mean girl dating jock"...and she is just kind of there for most of the movie, rarely saying or doing anything. She is also the only Black woman in the movie, which makes it doubly messed up that she is characterized this way.
Anywho, Tamara reveals that the mean girl has bulemia, and it's shown as a shameful individual failure out of vanity. She then "punishes" Tamara by making her vomit and then binge eat until she starts chewing on her own fingers. That's right, this time she victim blames some with an eating disorder and then punishes her with the eating disorder.
This is right up there with punishment by gayness as something that is portrayed in a way that is very bad way that has aged poorly as fuck.
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CW: CW: Eating Disorder - Fem Revenge: Tamara - Review (8/?)
Oh, I forgot, there was another messed up punishment on a character I forgot to mention because she is so underdeveloped. Literally, I don't think she has a single page of lines in the entire film. Her role is "head mean girl dating jock"...and she is just kind of there for most of the movie, rarely saying or doing anything. She is also the only Black woman in the movie, which makes it doubly messed up that she is characterized this way.
Anywho, Tamara reveals that the mean girl has bulemia, and it's shown as a shameful individual failure out of vanity. She then "punishes" Tamara by making her vomit and then binge eat until she starts chewing on her own fingers. That's right, this time she victim blames some with an eating disorder and then punishes her with the eating disorder.
This is right up there with punishment by gayness as something that is portrayed in a way that is very bad way that has aged poorly as fuck.
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CW: CW: Eating Disorder - Fem Revenge: Tamara - Review (8/?)
Oh, I forgot, there was another messed up punishment on a character I forgot to mention because she is so underdeveloped. Literally, I don't think she has a single page of lines in the entire film. Her role is "head mean girl dating jock"...and she is just kind of there for most of the movie, rarely saying or doing anything. She is also the only Black woman in the movie, which makes it doubly messed up that she is characterized this way.
Anywho, Tamara reveals that the mean girl has bulemia, and it's shown as a shameful individual failure out of vanity. She then "punishes" Tamara by making her vomit and then binge eat until she starts chewing on her own fingers. That's right, this time she victim blames some with an eating disorder and then punishes her with the eating disorder.
This is right up there with punishment by gayness as something that is portrayed in a way that is very bad way that has aged poorly as fuck.
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CW: Fem Revenge: Tamara - Review (7/?)
There is one kill that is done better overall on these criteria I've laid out.
At one point, we are looking from Tamara's gaze in the mirror as she gets dressed, and her father walks up behind her, leering at her in a creepy way, and saying she looks pretty before asking for a hug. It's revealed at that point that he has done pervy and creeping things towards her in the past. And it is shown to be clearly his fault and something wrong he did. And we see the harm through Tamara's eyes, not her father's.
She then commands him to kill himself by eating all the glass beer bottles in the fridge. This leads to probably the only genuinely creative kill in the movie, with a definite visceral reaction when the result is shown after his body is discovered.
So yeah, this one scene, actually not the worst!
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CW: Fem Revenge: Tamara - Review (7/?)
There is one kill that is done better overall on these criteria I've laid out.
At one point, we are looking from Tamara's gaze in the mirror as she gets dressed, and her father walks up behind her, leering at her in a creepy way, and saying she looks pretty before asking for a hug. It's revealed at that point that he has done pervy and creeping things towards her in the past. And it is shown to be clearly his fault and something wrong he did. And we see the harm through Tamara's eyes, not her father's.
She then commands him to kill himself by eating all the glass beer bottles in the fridge. This leads to probably the only genuinely creative kill in the movie, with a definite visceral reaction when the result is shown after his body is discovered.
So yeah, this one scene, actually not the worst!
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CW: Fem Revenge: Tamara - Review (7/?)
There is one kill that is done better overall on these criteria I've laid out.
At one point, we are looking from Tamara's gaze in the mirror as she gets dressed, and her father walks up behind her, leering at her in a creepy way, and saying she looks pretty before asking for a hug. It's revealed at that point that he has done pervy and creeping things towards her in the past. And it is shown to be clearly his fault and something wrong he did. And we see the harm through Tamara's eyes, not her father's.
She then commands him to kill himself by eating all the glass beer bottles in the fridge. This leads to probably the only genuinely creative kill in the movie, with a definite visceral reaction when the result is shown after his body is discovered.
So yeah, this one scene, actually not the worst!