Raging Serial Killers or Petrified Victi (1)
ANGLIA RUSKIN UNIVERSITY
Dissertation Declaration
Title of Award
BA (Honours)
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Date
01/05/2015
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SID Number
1200921
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Name of Supervisor
Tanya Horeck
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Title of Dissertation
Raging Serial Killers or Petrified Victims:
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Reworking Gender in Contemporary Horror
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Films and TV Shows
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Word Count
10,421
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DECLARATION: By submitting work to this class I declare that the work is my own and that
the material contained herein has not been substantially used in any other submission for an
academic award.
All dissertations, projects etc, submitted as part of an assessment process for a degree become
University property once handed in, and are not normally available to be returned.
SID: 1200921
Abstract
This study examines the various ways in which gender has been represented and reworked
over the last ten years within horror films and televisions shows, arguing that the genre has
progressed and continues to progress subverting the gender conventions upheld by the genre.
This dissertation explores the genre through the chapters of distribution and marketing,
stereotypes and sexual violence and the maternal image. The first chapter argues that modes
of distribution and marketing strategies are vital in providing room within the genre for a
larger female audience, and thus reworking the assumption that horror mainly caters to men.
The second chapter considers the extensive use of stereotyping and focuses on texts that
specifically reconsider these ideas. In addition, the chapter also questions the significance of
the male gaze within contemporary horror. Chapter three explores the various ways in which
sexualized violence is utilized within the genre and further analyses the maternal image
questioning whether this becomes the character’s flaw.
This dissertation concludes that contemporary horror films and television shows are realizing
the absurd restrictions and assumptions placed on gender. Furthermore reflecting societies
changing views regarding gender representation within the genre allowing for future films
and television shows to redefine the use of gender within horror.
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Table of Contents
Introduction
4
Chapter One: Rethinking gender representation through distribution and marketing: Can
distribution, marketing and release ratings play a role in the way gender is represented
within the horror genre?
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Chapter Two: Does contemporary horror rework or conform to stereotypes placed on
gender? An analysis of The Descent and The Cabin in the Woods
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Chapter Three: Sexual violence and the maternal image in American Horror Story: Murder
House and Bates Motel
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Conclusion
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Bibliography
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Filmography
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Introduction
The aim of this dissertation is to examine the various ways in which contemporary horror
films and television shows represent and rework gender through a close reading of The
Descent (Marshall, UK: 2005), The Cabin in the Woods (Goddard, US: 2012), American
Horror Story (FX, US: 2011) and Bates Motel (A&E, US: 2013). This dissertation will
discuss the varying ways in which contemporary films and television programmes attempt to
subvert or comment on the conventions of the horror genre.
In order to do this, the dissertation will look at certain aspects of the genre, including the use
of distribution and marketing, stereotypes, sexual violence and the maternal image. Each
analysis will consider relevant arguments presented by theorists such as Laura Mulvey, Sarah
Projansky and Barbara Creed on ideas regarding the gaze, representations of rape and the
monstrous mother. These ideas will then be applied to the chosen texts in order to argue that
in many ways the horror genre is attempting to subvert the conventions placed on gender,
such as through its emphasis on including strong representations of female characters within
the narrative or through the use of parody to reflect on the stereotypes often used within the
genre. However there are other ways in which the genre still conforms to certain damaging
stereotypes, exemplified through the use of the male gaze in regards to female sexual
violence.
The texts chosen to discuss within this dissertation are widely popular within the horror
genre, each bring a different view and understanding on how gender is viewed and received
within film and television and ‘lay the horror genre bare, critiquing its conventions [on
gender roles] in which the filmmakers encourage us to engage [with]’ (Rodriguez, 2012). By
extension, this dissertation will provide an insight as to whether the genre has become more
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accessible to a wider audience through new modes of distribution such as Netflix and other
online subscription channels and through its use of reworking gender representations.
In recent years TV has become distinctly more popular than film allowing for an interesting
discussion when analysing the genre. In the past ‘television held less prestige than film
[however] the last decade has seen a veritable flood of so-called ‘quality television series’’
(Klarer, 2014: 203), such as The Walking Dead (AMC, US: 2010-) and Hannibal (NBC, US:
2013-). In an interview with The Independent David Lynch explains that ‘“television [has
become] way more interesting than cinema”’ (Walker, 2013) and the use of longform
storytelling is allowing for ‘beautifully crafted and often surreal horror shows’ (ShawWilliams, 2013) in which spectators are offered interesting depictions of gender. For example
in American Horror Story we are introduced to a range of women, each of different ages and
each depicting different versions of femininity not often seen within the genre.
The first chapter will provide an analysis of the distribution, marketing and release ratings of
the four chosen texts, questioning whether the genre is more flexible towards gender
inequality and stereotypes because of its low scale distribution. Additionally an exploration
on the use of marketing will further inform us on whether these aspects of post-production
play an important role in contemporary horror reworking gender norms.
The second chapter will focus on Neil Marshall’s The Descent and Drew Goddard and Joss
Whedon’s The Cabin in the Woods, in which the analysis will comment and reflect on how
these two particular films challenge and rework stereotypes. Unlike many other horror films
The Descent contains an all female cast and in doing so confronts questions regarding gender
representation. By referring to Laura Mulvey’s theories on the male gaze, as well as drawing
from other theorists such as Barbara Creed, this chapter will discuss how the spectator views
gender, additionally questioning whether the film reworks the stereotypes placed on women
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through the use of the Final Girl and Monsters. The Cabin in the Woods will also look at the
stereotypes within the genre, which often places restrictions on characters based on their
gender. For example within most horror films including The Cabin in the Woods the
characters are ‘stock archetypes’ (Elbert, 2012): the athlete, the virgin, the whore, the fool
and the scholar, yet the female characters archetype is usually solely based on their sexuality.
The final chapter will explore American Horror Story: Murder House and Bates Motel, two
horror based TV shows that have become increasingly popular in recent years. The analysis
of American Horror Story will focus on how the show depicts and utilises sexual violence as
part of the genre, further discussing whether it reworks the assertion that women are the only
people subjected to sexual violence. Additionally the idea of the gaze in relation to sexual
violence will also be discussed. Bates Motel, a contemporary prequel to Alfred Hitchcock’s
Psycho (Hitchcock, US: 1960) will also explore the show’s portrayal of sexual violence,
commenting on its use within the narrative. Equally important will be the analysis of
reworking the archetypal image of the mother, and the examination of television’s portrayal
of bad mothers by looking at the ways in which Bates Motel promotes the maternal instinct to
emphasize motherhood as a powerful characteristic, thus reworking the harsh stereotype of
the archaic mother.
Before discussing how gender is represented and reworked in contemporary horror films it is
useful to look at horror as a genre. Horror as a genre existed even before the introduction of
film and has been and continues to be a popular genre that is explored through literature,
theatre and film. The genre usually ‘raises questions of cultural analysis as well as cultural
policy’ (Jancovich, 2002: 1); in this case the cultural analysis will centre itself on the issue of
gender. Many who write about the horror genre frequently question how the term horror
should be defined and what essential features define it. Timothy Corrigan and Patricia White
list three ‘fundamental elements of horror films:
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Characters with physical, psychological, and/ or spiritual deformities
Narratives built on suspense, surprise, and shock
Visual compositions that move between the dread of not seeing and the horror of seeing’
(2012: 336).
Nevertheless, Brigid Cherry argues that due to ‘the horror genre’s sheer diversity […] it has
fragmented into an extremely diverse set of sub-genres. […] mean[ing] that the genre has
evolved and developed many branches and offshoots’ (2009: 2) and it is therefore difficult to
discuss ‘as a coherent group of films’ (Cherry, 2009: 3). Whereas fundamental elements
categorize a film as horror, subgenres are ‘characterized by dominant elements: supernatural,
psychological and physical horror (slasher) films’ (Corrigan & White, 2012: 337).
As with film, TV shows each have their own genres, as well as their sub-genres; in TV most
horror related shows are categorised under Science Fiction, for example The X Files (Fox,
US: 1993-2002) which ‘skirt[ed] between a number of interrelated genres: horror, detective,
science fiction, thriller and comedy’ (Creeber, Miller & Tulloch, 2008: 39). Like horror,
science fiction was not ‘generally regarded as a high-culture form; instead, it has tended to be
seen as popular entertainment’ (Creeber, 2008: 36). However due to the development of
technology and special effects TV shows with a horror element are becoming increasingly
popular thus attracting a wider audience and fan base. As with the film texts the analysis of
the TV shows will centre itself on the issue of gender.
Unsurprisingly, issues concerning gender and sexuality within horror films have long been
debated and the deliberation still continues with repeated claims ‘that horror involves not
only violence against women, but violence that is itself highly sexualized’ (Jancovich, 2002:
57). Many theorists of the genre made use of psychoanalysis, which saw the ‘emergence of a
psychoanalytically informed feminist film theory.’ (Jancovich, 2002: 57) As a result, within
the past decade views regarding gender representation within horror have been challenged
and reworked in order to comment on and possibly change the stereotypes placed, mainly on
women, in horror films.
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The ensuing chapters of this dissertation are committed to exploring horror films and
television programmes, arguing that for a genre so often riddled with gender stereotypes and
assumptions, it is in many ways progressing and subverting the ways in which the spectator
views gender within horror.
Chapter One
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Rethinking gender representation through distribution and marketing: Can distribution,
marketing and release ratings play a role in the way gender is represented within the horror
genre?
The intention of this chapter is to analyse and discuss the distribution, release ratings of The
Descent, The Cabin in the Woods, American Horror Story and Bates Motel, and explore
whether the manner of distribution catering to a male target audience plays a role in the
decision to showcase gender stereotypes and misrepresentations. Additionally the chapter will
explore the use of marketing to attract a wider female audience, providing evidence that a
greater number of films and TV shows within the horror genre are now considering them as
part of their target audience. This analysis will allow for a discussion on how the rise in
reworking gender in the genre is partly due to the marketing, distribution, and opening
numbers of popular films and TV shows.
Many question the horror genre and its warped presentation of gender roles and stereotypes,
regarding the ‘horror film as a genre that is predominantly produced and consumed by men’
(Jancovich, 2001: 135). Hence why ‘Darrin Ramage […] suggests [that] horror fans are
hooked by ‘B and B: blood and boobs’’ (Lobato and Ryan, 2011: 196). However many of
these films that appeal to male audiences with its depiction of blood, sex and violence are low
budget films, and either go straight to DVD or are released online, whereas films that are
distributed for a cinema release tend to target a much wider audience.
On the other hand, TV distribution has changed far more than that of film and as Jowett and
Abbott explain, this is due to the fact that ‘TV is moving beyond its reputation as mainstream,
mass entertainment aimed at the lowest common denominator. [Instead] more subscription
channels, such as HBO with TV shows like True Blood (2008-2014), open up what is
acceptable on TV […] see[ing] a boom in TV horror’ (2013: 10). By pushing the boundaries
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of what can be shown on TV, network and subscription channels, such as HBO and Netflix,
are appealing a wider demographic.
Lobato and Ryan explain that ‘it is distributors who ultimately determine which texts are
shown at our cinemas, broadcast on television and sold at DVD stores’ (2011, 192). As
mentioned previously the horror genre has a large male fan base, yet Jancovich argues that
there is a ‘significant group of female fans of the genre, [and] that many classic horror films
were targeted at both male and female audiences’ (Jancovich, 2001: 135). With more female
fans of the genre emerging, a space for strong female characters has become available thus
opening up the distribution market to a wider range of horror films and TV shows, such as
those discussed within this dissertation.
Neil Marshall’s The Descent and Drew Goddard and Joss Whedon’s The Cabin in the Woods
were both distributed by Lionsgate within the US, a production and distribution company that
has distributed some of the most well known horror films including Hostel (2005) and the
Saw franchise (2004-2010). The Descent premiered in July 2005 in the UK, distributed by
Pathé, to 329 screens and was released a year later in the U.S. to 2,095 screens (IMDb, no
date). However it was the marketing process leading up to the release that showed that it
would cater to a wide target audience regardless of gender. Like the majority of films The
Descent utilised billboard advertising creating two different posters to ‘promote the movie
and market it to their audience’ (Tansley, 2015: 2) (See Image 1.1). The first is of Sarah and
her friends creating the shape of a skull, an image that ‘was based on the photograph named
“In Voluptas Mors” by Philippe Halsman’ (Tansley, 2015: 2), which became the
advertisement distributed worldwide. The second poster featured Sarah looking at the viewer
in fear with a quote from a review promoting the film as “Outright terror…bold and brilliant”
The textual content of the posters reflect the demands of the horror genre in terms of gore and
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violence, and with the addition of six female leads the film appeared to ‘appeal across gender,
demographics and cultures’ (Lobato and Ryan, 2011: 195) within the genre.
Figure 1.1
Right [The Descent UK Promotional Poster] 2007 [Online] Available at:
[Accessed: 12th March 2015]; Left [The
Descent US Promotional Poster] 2005 [Online] Available at:
[Accessed: 12th
March 2015]
In comparison, The Cabin in the Woods had to wait two years before it opened to cinema
audiences. Originally the film was to be distributed by MGM, however due to bankruptcy
issues it was completely shelved until Lionsgate decided to pick it up in 2012 (Schaefer,
2012). By this point actors Chris Hemsworth and Jessie Williams were now well known for
their roles in Thor (Branagh, US: 2011) and Grey’s Anatomy (ABC, US: 2005 -), thus
increasing anticipation towards the release. The film opened to 2,811 screens in the U.S.
(IMDb, no date) whilst the advertising of the film gave little away with the promotional
poster simply saying: “You think you know the story” (See Image 1.2). Furthermore the
image of the upside down cabin suggests the idea that the film is a commentary on the genre
itself, and in doing so creating suspense in regards to how the film would overturn the genre.
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Additionally, it can be argued that the success of its release was possibly due to the fact that
its writers were those that gave us Buffy: The Vampire Slayer (20th Century Fox, US: 19972003) and Cloverfield (Goddard, US: 2008) as well as the suspense that surrounded the film
for two years.
Image 1.2
[The Cabin in the Woods Promotional Poster] 2011 [Image Online] Available at:
[Accessed: 12th
March 2015]
Television has entered an era in which new shows are constantly being brought out, catering
to a range of audience members, and giving people more choice than ever before. Amanda
Lotz calls this the ‘post-network television experience in which viewers now increasingly
select what, when and where to view from abundant options’ (2007: 15). At a time where
there is an extremely high demand for TV shows to provide a large audience with something
new and captivating within the TV horror genre, American Horror Story, produced and aired
by FX, certainly delivered. Released in 2011 with the premier of its pilot episode receiving
‘just over 5 million Total Viewers […] and the gender split [being] 54% female (1.1 million)
and 46% male (946,000)’ (Seidman, 2011). The noticeable gender gap in the ratings
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demonstrates that the horror genre is not necessarily catered to and for a male demographic.
The lead up to the release of it’s first episode gave little away in terms of what to expect,
however, the promotional trailers and posters featured themes surrounding sexuality and
different depictions of femininity (See Image 1.3). By extension, the appearances of Connie
Britton and Jessica Lange as female leads added to the hype surrounding the show.
Image 1.3
[American Horror Story Promotional Posters] 2014 [Image Online] Available at:
[Accessed 12th
March 2015]
Similar to American Horror Story, Bates Motel produced and aired by A&E, also delivered
on its opening night. With the premise of the show being based on Alfred Hitchcock’s
Psycho, the show drew in a lot of attention from a wide range of audiences. Furthermore its
star studded cast, with Vera Farmiga, known for her roles in Up in the Air (2009) and The
Conjuring (2013), playing Norma Bates and Freddie Highmore, known for playing Charlie in
Charlie and the Chocolate Factory (2005), as the infamous Norman Bates, added interest and
intrigue before the first episode aired. The show’s pilot episode First You Dream Then You
Die ‘was watched by 4.6 million total viewers […] becoming the networks most-watched
original drama series debut among the key 18-49 and 25-54 demo[graphics]’ (Bibel, 2013).
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These opening ratings ‘indicate that the series has a far broader appeal than A&E’s typical
programming’ (Yaniz Jr, 2013). In contrast to American Horror Story, Bates Motel had a very
different marketing strategy as the hype around the show began before filming had even
began with details about characters and casting released in the process. The show’s female
lead character, Norma Louise Bates, was described as ‘the complicated, passionate and
compelling mother to Norman who is smart, multidimensional and always capable of
surprising people’ (Goldberg, 2012). Furthermore the trailers and promotional posters
revolved around the complicated and uncomfortable relationship between mother and son,
using the famous quote from the original film “A boy’s best friend is his mother” (See Image
1.4), leaving spectators to wonder whether this contemporary prequel would fully exploit the
relationship that is suggested in Hitchcock’s Psycho.
Figure 1.4
[Bates Motel Promotional Poster] 2013 [Image Online] Available at:
[Accessed 12th March
2015]
As previously stated the numbers for the opening of each film and TV programme prove that
the horror genre does not only cater for a male target audience. If we are to follow these
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figures the indication is that more films and TV shows within the horror genre are actually
providing room for strong female characters in order to attract a larger female-based
audience, with the exception of The Cabin in the Woods, which focused its promotion on the
suspense surrounding the film than on the characters that would be portrayed. The marketing
strategies used to promote The Descent and the two TV shows made a greater effort to
highlight their diverse female character leads, allowing for more films and TV shows to
rework gender stereotypes and address the question as to why society feels the need to
stereotype gender roles.
Chapter Two
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Does contemporary horror rework or conform to stereotypes placed on gender? An analysis
of ‘The Descent’ and ‘The Cabin in the Woods’
As previously mentioned, the horror genre is riddled with stereotypes that enable the
character to act in certain ways and make room for the spectator to view them differently. For
instance, within many horror films the woman is represented by her sexuality, as seen in The
Cabin in the Woods – CitW – where Jules (Anna Hutchison) is given the role of the ‘whore’
simply because she is in a sexually active relationship. Through an analysis of The Descent
and CitW this chapter will look specifically at ideas on the male gaze, women as the object,
the male monster and the Final Girl. By drawing from theorists such as Laura Mulvey and
Barbara Creed, this chapter will be able to question how stereotypes invite spectators to look
at characters in restricted ways. This will ultimately tie in with this dissertation’s argument
that these films are reworking the gender norms in relation to the genre and are commenting
on the absurdity of gender stereotyping.
Neil Marshall’s The Descent centres itself around six friends who go on a caving trip and
become trapped when they are caught in a rock fall, forcing them to go further underground
to find a way out only to ‘find themselves haunted by a race of fearless, hungry predators,
once humanoid but now monstrously adapted to live in the dark’ (The Descent, 2005). It is
interesting to note in terms of representing gender within horror, that the film follows a group
of six women, with the only man in the whole film being killed off within the first five
minutes. This is a rare occurrence within the genre and raises questions regarding how the
women and the male monsters are presented to the spectator and what they serve to comment
on.
Mulvey argues that within film ‘spectators are encouraged to identify with the look of the
male hero and make the heroine a passive object of erotic spectacle’ (Chaudhuri, 2006: 31).
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By simply having an all female cast The Descent already goes against part of Mulvey’s
argument, however, because the director is male it is possible to argue that the film is a
reflection of his fantasies projected onto the female characters (Chaudhuri, 2006: 35).
Therefore potentially conforming to stereotypes placed on women in horror films by turning
them into ‘spectacle[s] to be looked at’ (Chaudhuri, 2006: 2). Nevertheless, none of the
women in the film are presented to the spectator in a sexual or provocative manner, possibly
because there is no male who drives the narrative forward therefore spectators cannot identify
‘with “the active power” of the hero’s gaze at the woman’ (Chaudhuri, 2006: 35). Usually
within horror the stereotype would be to have the women dressed in revealing, inappropriate
clothing yet in a scene at the beginning of the film the women take a group photo dressed in
appropriate caving attire (See image 2.1), making it evident in terms of physical appearance
and mise-en-scene that the film rejects Mulvey’s notion of the woman as spectacle and the
idea of the narrative being driven by a male gaze. Furthermore The Descent successfully
eliminates the physical stereotypes as well as the main archetypal stereotypes, as each of the
women are successful and driven, thus the image of the powerless woman is replaced with
the image of a strong survivor.
Image 2.1
Group photo of all six women wearing convenient clothing (The Descent, 2005: 16 minutes)
Although The Descent has reworked the image of the woman and her physical sexuality, it is
the characterisation of each of the women and the monsters that raise questions concerning
gender stereotypes and ultimately show how this film is progressive in terms of gender
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representation. Robin Wood explains that the dramatic structure of the horror genre is usually
‘our collective night-mares […] in which normality is threatened by the monster’ (1979: 10).
Additionally, Barry Keith Grant explains that the majority of horror films ‘are consistent in
defining normality as the heterosexual, monogamous couple, the family and the social
institutions […] that support and defend them. The monster in these films is a projection of
the dominant ideology’s anxiety about itself’ (2006: 48). In other words the male protagonist
sees his fears mirrored through the monster, hence why ‘traditional approaches to the male
monster have tended to focus on his image as terrifying because of its association with
castration, dismemberment and death’ (Creed, 2005: VII). However this leads us to question:
since there are no male lead characters within the film, why then does The Descent portray
the monsters as men? A possible answer to this question lies in the ending of the film, which
can be interpreted to suggest that the monsters, also known as crawlers, are in fact not real.
Suggesting that Sarah (Shauna Macdonald), who is the last character standing, in her
“descent” into madness hallucinated them, in turn killing all of her friends. The last scene of
the film shows Sarah awakening, still in the cave completely covered in blood adopting
crawler like movements whilst hallucinating her dead daughter (See Image 2.2). If Grant’s
explanation regarding the monsters in horror films is taken into account, then it is possible to
argue that the crawlers were Sarah’s own manifestations of anxiety regarding her lack of
family and monogamous relationship, as it is later revealed that Juno and Sarah’s husband
were having an affair.
Image 2.2
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(Left) Sarah waking up finding herself still in the cave (Right) adopting crawler like
movements (The Descent, 2005: 94 minutes)
In turn this interpretation of the ending further allows an attempt at answering one of Barbara
Creed’s questions: ‘What are the differences, if any, between male and female monsters?’
(Creed, 2005: VII) It can be argued that within this film there is no difference between the
male and female monster, each, regardless of gender, are as terrifying as the other. Creed
argues that ‘through the figure of the male monster, the horror film speaks to us about our
origins, our deep-seated anxieties and our debt to women, nature, the animal and death’
(2005: XV). However by presenting the spectator with the possibility that the crawlers were
actually projections of Sarah, the film re-works the stereotype of women needing to be saved
from the male monsters when in fact it is the woman who is the monster. As a result the film
also allows for a reworking of the dominant ideology by addressing the idea that women too
can project their anxieties about themselves into monsters. Consequently this portrayal could
potentially prove to be problematic, as it still perceives women as monsters simply because of
their gender. Nevertheless it remains to be a refreshing take on gender roles within the horror
genre as most portray women to be mentally and physically weak.
In addition the film utilises Carol Clover’s idea of the Final Girl, in which she argues ‘is
phallicized, given masculine traits and a boyish name’ (Chaudhuri, 2006: 101). She further
‘describes the Final Girl as ‘a figurative male’, who allows the mostly male audience of the
genre to identify across the lines of gender’ (Chaudhuri, 2006: 101). If this argument is
discussed through The Descent’s Final Girl it is evident that only part of this statement is
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applicable. Firstly the Final Girl has a non-boyish name, Sarah, and it is only at the end of the
film that spectators see her possibly taking up physical masculine traits. This in turn supports
Creed’s counter argument that just ‘because the heroine is represented as resourceful,
intelligent and dangerous, it does not follow that she should be seen as a pseudo man’ (Creed,
1993: 127). Nevertheless the film does not totally eradicate the use of the Final Girl, as there
is one character whose characteristics can be associated with those of the Final Girl. Out of
all the women it is Juno who is given the most masculine traits. Apart from being given an
androgynous name, it is evident from the beginning that she is physically strong, as well as
narcissistic and presumptuous evident in her decision to lead the group, without their
knowledge, to the undiscovered caves. By having Juno take up these masculine traits, the
film allows for the male viewers to identify with ‘a figurative male’ (Chaudhuri, 2006: 101).
However by not making Juno the Final Girl The Descent re-works the stereotype of the Final
Girl, whilst maintaining a male gaze through Juno’s character.
In contrast, Drew Goddard’s The Cabin in the Woods parodies horror’s stereotypes in this
‘metageneric sf/horror hybrid’ (Venezia, 2013: 411). Which ‘set[s] out to embrace the genre
and [tries] to do something new’ (Goddard, 2012: 26 minutes). The film focuses on a group
of students who take a trip to a cabin in the woods, in which they are being observed and
manipulated through technology and drugs by a shadowy high-tech corporation (Venezia,
2013: 411). Once they have played out the role of their stereotype they are killed and
sacrificed to the Gods. The analysis of CitW will aim to aid this dissertation’s argument that
contemporary horror films are realising the out-dated nature of gender stereotypes within the
genre through the use of parody, allowing for a reworking of gender roles. Many reviews of
the film praise Goddard’s and Whedon’s take on the genre’s use of stereotypes, with Whedon
himself describing the film ‘as a “loving hate letter” to horror movies, and you could interpret
it as an experiment on the genre itself’ (Ebert, 2012). In another review the film is described
as ‘lay[ing] the horror genre bare, critiquing its conventions and creating a space for a larger
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cultural conversation’ (Rodriguez, 2012). Rodriguez then continues to explain that the most
important critique is that of ‘the virgin/whore dichotomy that cinema and society seem to
insist is the only way we can view most women’ (2012). It is explained early on in the film
that there is an order in which the deaths must occur, with the whore being the first and the
virgin being the last if not at all. An idea that will be explored further in regards to the film’s
reworking of gendered stereotypes.
The five students in the film each ‘resemble a spectrum of teen horror stereotypes – jock,
scholar, slut, virgin and pothead’ (Venzia, 2013: 411), however it is through the process of
manipulation that these characters play out these roles. Whilst the two female characters are
conditioned to playing out the only two stereotypes given to women, the whore and the
virgin, it is the men who are influenced the most in order to fit into their assigned stock
archetypes. We are introduced to Curt (Chris Hemsworth), Holden (Jesse Williams) and
Marty (Fran Kranz) within the first ten minutes of the film and throughout small details in
their personality and appearance are manipulated in order to accurately portray their assigned
stereotype. Although it is fairly obvious from the introduction of Marty that his role will be to
play the ‘pothead/joker’, it is more ambiguous as to what roles Curt and Holden are assigned
to. At first Curt and Holden both appear to be athletic with Curt first introduced walking into
Dana’s room throwing a football which neither Dana nor Jules attempt at catching, leaving it
to fly out the window, thus introducing us to Holden who catches the ball. Curt then informs
us that Holden transferred from another school and has the “best hands on the team” (The
Cabin In The Woods, 2012: 4 minutes). However moments later the audience learn that ‘Curt
is actually a sociology student on a full scholarship’ (Pols, 2012) proving that he isn’t just
interested in being an athlete, thus alluding us into thinking that he could play the role of the
scholar. It isn’t until they reach the cabin that the manipulation of Curt and Holden takes
place with the ‘puppeteers hav[ing] to inject drugs into the air to make Curt more aggressive
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and alpha male’ (T, 2012) whilst Holden becomes more scholarly with the addition of glasses
and the ability to speak Latin.
When assigning stereotypes to Dana and Jules it is fairly easy to assume who will play which
role and because ‘each cliché [is] carefully counterbalanced with an incisive comment on the
absurdity of the genre’ (Miller, 2012) the only reason Dana is assigned the ‘virgin’ is because
she’s isn’t in a monogamous sexual relationship. Although Dana could arguably be perceived
to fit into the ‘whore’ stereotype instead of Jules, since it is revealed within the first few
minutes of the film that Dana was romantically involved with her married professor. Whilst
Jules’ assigned stereotype is aided by her new transformation into a blonde and her outgoing
and flirtatious personality reaffirms her role within the narrative, Dana is manipulated into
becoming innocent and naïve. Due to the nature of Jules’ stereotype the film comments on the
genre’s need to over sexualise certain female character, furthermore ‘call[ing] into question
the notion that women who like sex or who own their sexuality are whores’ (Rodriguez,
2012).
Unlike The Descent, CitW clearly highlights Mulvey’s argument of women becoming ‘a
passive object of erotic spectacle’ (Chaudhuri, 2006: 31), showcasing how horror films are in
essence a projection of male fantasies. There are two scenes in particular both involving
Jules, which support Mulvey’s views that the woman ‘holds the look, plays to and signifies
male desire’ (Mulvey, 1990: 33). Within the first scene the five friends are in the cabin
drinking and listening to music, although Jules is the only one dancing. A medium shot shows
her standing in front of the fireplace with her back turned to the camera before she begins to
dance provocatively, and then seductively walks over to Holden preparing him for a lap
dance (See Image 2.3) before turning her attention to Marty who questions her odd behaviour.
Due to her assigned stereotype, Jules is objectified in the most sexualised manner; she is
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viewed as fulfilling her duty as a woman by making herself available to cater to men’s sexual
desires.
Image 2.3
(Left) Jules’ provocative dancing (Right) Jules flirting with Holden (The Cabin in the Woods,
2012: 34 minutes)
The second scene takes place straight after; Jules and Curt run into the forest prepared to
realise Jules’ stereotype that will ultimately lead to her demise. At this point spectators are
reminded that the students are being watched and once again it is Jules’ body that is
objectified (See Image 2.4). Sitterson (Richard Jenkins) and Hadley (Bradley Whitford) who
we learn are in charge of the operation, manipulate the scene in order to persuade Jules to
play out her role as the ‘whore’, and when questioned by another onlooker if they have to
watch, both Sitterson and Hadley explain:
Hadley: “We’re not the only ones watching kid”
Sitterson: “Gotta keep the customer satisfied”
(The Cabin In The Woods, 2012: 39 minutes)
This scene directly displays an awareness of Mulvey’s theories on the male gaze, by
considering the audience as “customers” the film serves ‘not only [as] an indictment of the
horror genre but of the voyeuristic spectatorship that perpetuates these horror tropes’
(Rodriguez, 2012). Once Jules’ breasts are revealed to spectators Hadley and Sitterson
organise her gruesome death, which again explicitly highlights the assumption ‘that women
who like sex or who own their sexuality are whores’ (Rodriguez, 2012).
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Image 2.4
(Left) Workers anticipating watching Jules undress (The Cabin In The Woods, 2012: 37
minutes) (Right) Sitterson and Hadley taking pleasure in watching Jules undress (The Cabin
In The Woods, 2012: 39 minutes)
If CitW revolves around overturning horror tropes it is reasonable then to discuss whether a
space is provided for the female gaze. There is only one scene in which this is offered and
occurs once the group have reached the cabin and decide on their bedrooms. Holden’s room
contains a grotesque painting hanging on one of the walls, which he removes to reveal a large
mirror that sees into Dana’s room. Holden waves his arms in front of the mirror checking
whether Dana can see him, however it is made clear by Dana’s facial expression and her lack
of acknowledgement towards Holden that she can’t see through into Holden’s room. Holden
continues to stare until she begins to unbutton her shirt at which point he begins to panic,
pausing to glace at her before deciding to let her and everyone else know about the mirror
(See Image 2.5). After having informed the group, Holden offers to swap rooms with Dana to
make her feel comfortable, once they have swapped rooms Holden begins to undress taking
off his shirt. As the camera lingers on Holden Dana moves closer to the mirror admiring his
body (See Image 2.6). At this point Holden is the sexual object, allowing for him to become
objectified by the camera in the same way that a woman would, furthermore Dana’s control
of the gaze is significant in comparing the amount of time spent looking at his body in
contrast to the brief moment Holden spent controlling the gaze.
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Image 2.5
Holden’s averted gaze (The Cabin In The Woods, 2012: 15 minutes)
Image 2.6
(Left) Holden’s body objectified by the camera (Right) Dana’s longing stare (The Cabin In
The Woods, 2012: 17 minutes)
Mulvey argues that ‘In a world ordered by sexual imbalance, pleasure in looking has been
split between active/male and passive/female’ (Chaudhuri, 2006: 35). Meaning that it is the
male who is in charge of the looking whilst the female is the spectacle, yet in this case
Holden hands the control of the gaze over to Dana knowingly. In giving Dana control over
the gaze, the female spectators can now identify with the passive male, ‘acknowledging the
lack of difference between him and Dana’ (Stephenson, 2014: 32). In doing so the film
reworks the norm of simply allowing for a male gaze to be present throughout the whole film.
As mentioned previously the sacrificial killings are ordered with the virgin being the last to
die; although it is explained that as long as she is the last, it is unimportant whether she dies
or not. Like in The Descent, CitW resonates Clover’s ideas on the Final Girl. The final scene
sees Dana and Marty – the two remaining survivors – being told by The Director (Sigourney
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Weaver) that in order for the ritual to be completed and for the human race to survive Dana
must kill Marty, and she almost does until a wolf attacks her. Giving Marty the opportunity to
grab the gun and shoot the wolf and The Director in order to save himself and gain justice for
his friends. The final moments of the film sees the world around them crumbling as Marty
and Dana smoke a joint. In relation to Clover’s essay ‘Her Body, Himself: Gender in the
Slasher Film’ (1987) she describes that ‘the Final Girl is also watchful to the point of
paranoia; small signs of danger that her friends ignore she takes in and turns over […] the
Final Girl is boyish, in a word’ (1987, 204). CitW sees this slasher film trope overturned, as it
is Marty, the fool, who sees and predicts what is really going on. Indeed the film goes against
the gendered stereotypes of the typical horror slasher film but it can be interpreted in a way
that raises concerns. The whore is usually killed first because she is corrupted whilst the
virgin is allowed to live because she remains pure and innocent. Yet in CitW Dana is far from
pure and her death is at the hands of a wolf bite cemented by the crumbling of the world
around them, thus implying that even though the chosen virgin is in fact not a virgin she too
must be punished for her sexuality.
The above discussion has identified and analysed how The Descent and The Cabin in the
Woods tackle the ideas of stereotypes within the genre. It is clear in The Descent that the
character’s gender does not play a part in the way we view them in relation to the narrative.
Unlike CitW, the order of the women’s deaths is irrelevant and the possibility of having a
female monster offers a reworking of gender roles within the genre. In contrast CitW offers
the majority of horror’s stereotypes in a way that ‘exposes the falseness of gender stereotypes
and lays bare what society is really afraid of – losing socially constructed femininity and
masculinity’ (Smalls, 2012). Lastly the humour provided aids the gruesome deaths and serves
to point out the out-dated gender conventions of the genre.
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Chapter Three
Sexual violence and the maternal image in ‘American Horror Story: Murder House’ and
‘Bates Motel’
Unlike films, TV shows are allotted significantly more time to go through a single storyline
and are therefore able to address issues that they want to confront the spectators with in more
detail. In the past screening horror on television was much more problematic as ‘restrictions
[were] imposed by the network concerned about alienating audiences and the potential for
negative audience reaction’ (Jowett and Abbott, 2013: xiii). As pointed out in Chapter One,
there is currently a high demand within the horror genre to present something new and
disturbingly good, thus the reins on what is considered appropriate to show have been
loosened. As a result shows such as American Horror Story – AHS – and Bates Motel have
crossed the boundaries calling on a range of horror tropes in order to create interesting
storylines and concepts, in turn allowing for an in depth questioning of sexualised violence
and the maternal image within the horror genre. This dissertation has already established that
many films and TV shows within the horror genre conform to certain damaging stereotypes
of women, however, ‘television has given us complex and contradictory female characters
who reflect, direct and occasionally critique America’s fantasies and anxieties about historical
gender roles and norms’ (Helford, 2000: 1). This chapter will directly discuss the ways in
which AHS and Bates Motel portray and comment on the way the genre depicts and utilises
sexualised violence against women and the image of the mother as a character’s flaw,
primarily addressed through an analysis of Bates Motel.
Whilst the first chapter of this dissertation analysed the successful ratings of both shows,
equally important are the cultural reviews in regards to their portrayal of women and the
ways in which they reworked gender within the genre. James Donaghy in his review of AHS
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for The Guardian notes that ‘[r]arely has a show provoked such widely divergent reviews
[…] It’s the Marmite of TV shows’ (2012); whilst The Washington Post called it ‘the most
visually arresting and twisted new television show of the year’ (Stuever, 2011). Yet many
reviews that discuss the show’s portrayal of women tend to agree that the show does depict
‘strong characterizations of steely, biting, smartly-drawn females of all ages and stages’
(Lowen, 2011). Whilst AHS received divided opinions Bates Motel seemed to exceed
people’s expectations, many praising the performances given by Freddie Highmore and Vera
Farmiga as Norman and Norma Bates and the unhealthy relationship between the two, with
The Guardian claiming the shows ‘main selling point is that it revolves around two standout
performances’ (Carty, 2014). Yet the female leads within the series each depict different
versions of femininity and the archetypal mother is considered to have feminist qualities
(Klassen, 2015).
Brad Falchuk and Ryan Murphy’s American Horror Story was created as an anthology series,
with its first season, Murder House, airing in 2011 and recently just been renewed for a fifth
season. Each season has dealt with an entirely new storyline and completely different
characters allowing for the show to re-create itself each time ‘tak[ing] familiar horror tropes
and reinvent[ing] them’ (Jowett and Abbott, 2013: 41). AHS calls on a range of well-known
horror tropes: the haunted house, vengeful ghosts and the fragile American family hopeful for
a new start. Murder House follows the Harmon family, Vivien (Connie Britton), Ben (Dylan
McDermott) and their daughter Violet (Taissa Farmiga) who decide to move to LA in order to
start afresh in their new home only to discover that it is haunted by a large number of people
who were violently murdered in the house.
The use of sexual violence towards women is usually exploited within the horror genre in
order ‘to make violent eroticism more acceptable in mainstream media [and] American
Horror Story emphasizes these themes until they’re impossible to ignore’ (Berdie and Tiffany,
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2014). Furthermore the numerous scenes depicting sexual violence make reference to ‘gender
roles, mental illness and identity politics’ (Lapekas, 2014), which ultimately acknowledges
the extensive use of sexual violence as a horror narrative trope. Sarah Projansky argues that
‘rape is one of contemporary US popular culture’s compulsory citations […] embedded in all
of its complex media forms’ (2001: 2). She continues to argue that ‘representations of rape
naturalizes rape’s place in our everyday world, not only as real physical events but also as
part of our fantasies, fears, desires and consumptive practices’ (Projansky, 2001: 3). Within
AHS the issue of rape and sexuality is very much at the forefront of the show with a rape
scene occurring in the very first episode, Pilot. In a scene towards the end of the episode we
see Vivien Harmon in her bedroom preparing for bed when a man, who the spectators along
with Vivien assume is her husband Ben, appears in a black rubber bodysuit (See Image 3.1).
Throughout the entire scene he remains silent, with Vivien thinking that it is all part of the act
she states that she “can be kinky” (American Horror Story, 2011: 40 minutes) at which point
the scene cuts to a gas stove being turned on. The camera lingers on the stove before
revealing that it is Ben who is turning it on, thus informing the spectator that the person in the
bodysuit is in fact a stranger. The scene then continues to cut between Vivien being raped by
the man in the bodysuit and Ben by the kitchen stove. It isn’t until episode eight, titled
Rubber Man, when we find out that Vivien’s rapist and father to one of her unborn twins, is
Violet’s ghost boyfriend and Ben’s patient, Tate Langdon (Evan Peters).
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Image 3.1
The mysterious Rubber Man (American Horror Story: Murder House Episode 1, Pilot: 40
minutes)
This scene proves to be highly disturbing for numerous reasons, yet it also reworks the horror
trope of having a highly violent and sexualised rape scene. Whilst ‘violence of some kind,
even if understood as simply the threat of violence, is absolutely essential to the horror genre’
(Kendrick, 2010: 79-80), it is nevertheless ‘mostly women whose ultimate horrors are
recognised’ (Berdie and Tiffany, 2014). Furthermore James Kendrick explains th
Dissertation Declaration
Title of Award
BA (Honours)
____________________________________
Date
01/05/2015
____________________________________
SID Number
1200921
_____________________________________
Name of Supervisor
Tanya Horeck
_____________________________________
Title of Dissertation
Raging Serial Killers or Petrified Victims:
_____________________________________
Reworking Gender in Contemporary Horror
_____________________________________
Films and TV Shows
_____________________________________
_____________________________________
_____________________________________
_____________________________________
_____________________________________
Word Count
10,421
_____________________________________
DECLARATION: By submitting work to this class I declare that the work is my own and that
the material contained herein has not been substantially used in any other submission for an
academic award.
All dissertations, projects etc, submitted as part of an assessment process for a degree become
University property once handed in, and are not normally available to be returned.
SID: 1200921
Abstract
This study examines the various ways in which gender has been represented and reworked
over the last ten years within horror films and televisions shows, arguing that the genre has
progressed and continues to progress subverting the gender conventions upheld by the genre.
This dissertation explores the genre through the chapters of distribution and marketing,
stereotypes and sexual violence and the maternal image. The first chapter argues that modes
of distribution and marketing strategies are vital in providing room within the genre for a
larger female audience, and thus reworking the assumption that horror mainly caters to men.
The second chapter considers the extensive use of stereotyping and focuses on texts that
specifically reconsider these ideas. In addition, the chapter also questions the significance of
the male gaze within contemporary horror. Chapter three explores the various ways in which
sexualized violence is utilized within the genre and further analyses the maternal image
questioning whether this becomes the character’s flaw.
This dissertation concludes that contemporary horror films and television shows are realizing
the absurd restrictions and assumptions placed on gender. Furthermore reflecting societies
changing views regarding gender representation within the genre allowing for future films
and television shows to redefine the use of gender within horror.
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Table of Contents
Introduction
4
Chapter One: Rethinking gender representation through distribution and marketing: Can
distribution, marketing and release ratings play a role in the way gender is represented
within the horror genre?
9
Chapter Two: Does contemporary horror rework or conform to stereotypes placed on
gender? An analysis of The Descent and The Cabin in the Woods
16
Chapter Three: Sexual violence and the maternal image in American Horror Story: Murder
House and Bates Motel
27
Conclusion
40
Bibliography
42
Filmography
50
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Introduction
The aim of this dissertation is to examine the various ways in which contemporary horror
films and television shows represent and rework gender through a close reading of The
Descent (Marshall, UK: 2005), The Cabin in the Woods (Goddard, US: 2012), American
Horror Story (FX, US: 2011) and Bates Motel (A&E, US: 2013). This dissertation will
discuss the varying ways in which contemporary films and television programmes attempt to
subvert or comment on the conventions of the horror genre.
In order to do this, the dissertation will look at certain aspects of the genre, including the use
of distribution and marketing, stereotypes, sexual violence and the maternal image. Each
analysis will consider relevant arguments presented by theorists such as Laura Mulvey, Sarah
Projansky and Barbara Creed on ideas regarding the gaze, representations of rape and the
monstrous mother. These ideas will then be applied to the chosen texts in order to argue that
in many ways the horror genre is attempting to subvert the conventions placed on gender,
such as through its emphasis on including strong representations of female characters within
the narrative or through the use of parody to reflect on the stereotypes often used within the
genre. However there are other ways in which the genre still conforms to certain damaging
stereotypes, exemplified through the use of the male gaze in regards to female sexual
violence.
The texts chosen to discuss within this dissertation are widely popular within the horror
genre, each bring a different view and understanding on how gender is viewed and received
within film and television and ‘lay the horror genre bare, critiquing its conventions [on
gender roles] in which the filmmakers encourage us to engage [with]’ (Rodriguez, 2012). By
extension, this dissertation will provide an insight as to whether the genre has become more
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accessible to a wider audience through new modes of distribution such as Netflix and other
online subscription channels and through its use of reworking gender representations.
In recent years TV has become distinctly more popular than film allowing for an interesting
discussion when analysing the genre. In the past ‘television held less prestige than film
[however] the last decade has seen a veritable flood of so-called ‘quality television series’’
(Klarer, 2014: 203), such as The Walking Dead (AMC, US: 2010-) and Hannibal (NBC, US:
2013-). In an interview with The Independent David Lynch explains that ‘“television [has
become] way more interesting than cinema”’ (Walker, 2013) and the use of longform
storytelling is allowing for ‘beautifully crafted and often surreal horror shows’ (ShawWilliams, 2013) in which spectators are offered interesting depictions of gender. For example
in American Horror Story we are introduced to a range of women, each of different ages and
each depicting different versions of femininity not often seen within the genre.
The first chapter will provide an analysis of the distribution, marketing and release ratings of
the four chosen texts, questioning whether the genre is more flexible towards gender
inequality and stereotypes because of its low scale distribution. Additionally an exploration
on the use of marketing will further inform us on whether these aspects of post-production
play an important role in contemporary horror reworking gender norms.
The second chapter will focus on Neil Marshall’s The Descent and Drew Goddard and Joss
Whedon’s The Cabin in the Woods, in which the analysis will comment and reflect on how
these two particular films challenge and rework stereotypes. Unlike many other horror films
The Descent contains an all female cast and in doing so confronts questions regarding gender
representation. By referring to Laura Mulvey’s theories on the male gaze, as well as drawing
from other theorists such as Barbara Creed, this chapter will discuss how the spectator views
gender, additionally questioning whether the film reworks the stereotypes placed on women
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through the use of the Final Girl and Monsters. The Cabin in the Woods will also look at the
stereotypes within the genre, which often places restrictions on characters based on their
gender. For example within most horror films including The Cabin in the Woods the
characters are ‘stock archetypes’ (Elbert, 2012): the athlete, the virgin, the whore, the fool
and the scholar, yet the female characters archetype is usually solely based on their sexuality.
The final chapter will explore American Horror Story: Murder House and Bates Motel, two
horror based TV shows that have become increasingly popular in recent years. The analysis
of American Horror Story will focus on how the show depicts and utilises sexual violence as
part of the genre, further discussing whether it reworks the assertion that women are the only
people subjected to sexual violence. Additionally the idea of the gaze in relation to sexual
violence will also be discussed. Bates Motel, a contemporary prequel to Alfred Hitchcock’s
Psycho (Hitchcock, US: 1960) will also explore the show’s portrayal of sexual violence,
commenting on its use within the narrative. Equally important will be the analysis of
reworking the archetypal image of the mother, and the examination of television’s portrayal
of bad mothers by looking at the ways in which Bates Motel promotes the maternal instinct to
emphasize motherhood as a powerful characteristic, thus reworking the harsh stereotype of
the archaic mother.
Before discussing how gender is represented and reworked in contemporary horror films it is
useful to look at horror as a genre. Horror as a genre existed even before the introduction of
film and has been and continues to be a popular genre that is explored through literature,
theatre and film. The genre usually ‘raises questions of cultural analysis as well as cultural
policy’ (Jancovich, 2002: 1); in this case the cultural analysis will centre itself on the issue of
gender. Many who write about the horror genre frequently question how the term horror
should be defined and what essential features define it. Timothy Corrigan and Patricia White
list three ‘fundamental elements of horror films:
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Characters with physical, psychological, and/ or spiritual deformities
Narratives built on suspense, surprise, and shock
Visual compositions that move between the dread of not seeing and the horror of seeing’
(2012: 336).
Nevertheless, Brigid Cherry argues that due to ‘the horror genre’s sheer diversity […] it has
fragmented into an extremely diverse set of sub-genres. […] mean[ing] that the genre has
evolved and developed many branches and offshoots’ (2009: 2) and it is therefore difficult to
discuss ‘as a coherent group of films’ (Cherry, 2009: 3). Whereas fundamental elements
categorize a film as horror, subgenres are ‘characterized by dominant elements: supernatural,
psychological and physical horror (slasher) films’ (Corrigan & White, 2012: 337).
As with film, TV shows each have their own genres, as well as their sub-genres; in TV most
horror related shows are categorised under Science Fiction, for example The X Files (Fox,
US: 1993-2002) which ‘skirt[ed] between a number of interrelated genres: horror, detective,
science fiction, thriller and comedy’ (Creeber, Miller & Tulloch, 2008: 39). Like horror,
science fiction was not ‘generally regarded as a high-culture form; instead, it has tended to be
seen as popular entertainment’ (Creeber, 2008: 36). However due to the development of
technology and special effects TV shows with a horror element are becoming increasingly
popular thus attracting a wider audience and fan base. As with the film texts the analysis of
the TV shows will centre itself on the issue of gender.
Unsurprisingly, issues concerning gender and sexuality within horror films have long been
debated and the deliberation still continues with repeated claims ‘that horror involves not
only violence against women, but violence that is itself highly sexualized’ (Jancovich, 2002:
57). Many theorists of the genre made use of psychoanalysis, which saw the ‘emergence of a
psychoanalytically informed feminist film theory.’ (Jancovich, 2002: 57) As a result, within
the past decade views regarding gender representation within horror have been challenged
and reworked in order to comment on and possibly change the stereotypes placed, mainly on
women, in horror films.
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The ensuing chapters of this dissertation are committed to exploring horror films and
television programmes, arguing that for a genre so often riddled with gender stereotypes and
assumptions, it is in many ways progressing and subverting the ways in which the spectator
views gender within horror.
Chapter One
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Rethinking gender representation through distribution and marketing: Can distribution,
marketing and release ratings play a role in the way gender is represented within the horror
genre?
The intention of this chapter is to analyse and discuss the distribution, release ratings of The
Descent, The Cabin in the Woods, American Horror Story and Bates Motel, and explore
whether the manner of distribution catering to a male target audience plays a role in the
decision to showcase gender stereotypes and misrepresentations. Additionally the chapter will
explore the use of marketing to attract a wider female audience, providing evidence that a
greater number of films and TV shows within the horror genre are now considering them as
part of their target audience. This analysis will allow for a discussion on how the rise in
reworking gender in the genre is partly due to the marketing, distribution, and opening
numbers of popular films and TV shows.
Many question the horror genre and its warped presentation of gender roles and stereotypes,
regarding the ‘horror film as a genre that is predominantly produced and consumed by men’
(Jancovich, 2001: 135). Hence why ‘Darrin Ramage […] suggests [that] horror fans are
hooked by ‘B and B: blood and boobs’’ (Lobato and Ryan, 2011: 196). However many of
these films that appeal to male audiences with its depiction of blood, sex and violence are low
budget films, and either go straight to DVD or are released online, whereas films that are
distributed for a cinema release tend to target a much wider audience.
On the other hand, TV distribution has changed far more than that of film and as Jowett and
Abbott explain, this is due to the fact that ‘TV is moving beyond its reputation as mainstream,
mass entertainment aimed at the lowest common denominator. [Instead] more subscription
channels, such as HBO with TV shows like True Blood (2008-2014), open up what is
acceptable on TV […] see[ing] a boom in TV horror’ (2013: 10). By pushing the boundaries
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of what can be shown on TV, network and subscription channels, such as HBO and Netflix,
are appealing a wider demographic.
Lobato and Ryan explain that ‘it is distributors who ultimately determine which texts are
shown at our cinemas, broadcast on television and sold at DVD stores’ (2011, 192). As
mentioned previously the horror genre has a large male fan base, yet Jancovich argues that
there is a ‘significant group of female fans of the genre, [and] that many classic horror films
were targeted at both male and female audiences’ (Jancovich, 2001: 135). With more female
fans of the genre emerging, a space for strong female characters has become available thus
opening up the distribution market to a wider range of horror films and TV shows, such as
those discussed within this dissertation.
Neil Marshall’s The Descent and Drew Goddard and Joss Whedon’s The Cabin in the Woods
were both distributed by Lionsgate within the US, a production and distribution company that
has distributed some of the most well known horror films including Hostel (2005) and the
Saw franchise (2004-2010). The Descent premiered in July 2005 in the UK, distributed by
Pathé, to 329 screens and was released a year later in the U.S. to 2,095 screens (IMDb, no
date). However it was the marketing process leading up to the release that showed that it
would cater to a wide target audience regardless of gender. Like the majority of films The
Descent utilised billboard advertising creating two different posters to ‘promote the movie
and market it to their audience’ (Tansley, 2015: 2) (See Image 1.1). The first is of Sarah and
her friends creating the shape of a skull, an image that ‘was based on the photograph named
“In Voluptas Mors” by Philippe Halsman’ (Tansley, 2015: 2), which became the
advertisement distributed worldwide. The second poster featured Sarah looking at the viewer
in fear with a quote from a review promoting the film as “Outright terror…bold and brilliant”
The textual content of the posters reflect the demands of the horror genre in terms of gore and
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violence, and with the addition of six female leads the film appeared to ‘appeal across gender,
demographics and cultures’ (Lobato and Ryan, 2011: 195) within the genre.
Figure 1.1
Right [The Descent UK Promotional Poster] 2007 [Online] Available at:
[Accessed: 12th March 2015]; Left [The
Descent US Promotional Poster] 2005 [Online] Available at:
[Accessed: 12th
March 2015]
In comparison, The Cabin in the Woods had to wait two years before it opened to cinema
audiences. Originally the film was to be distributed by MGM, however due to bankruptcy
issues it was completely shelved until Lionsgate decided to pick it up in 2012 (Schaefer,
2012). By this point actors Chris Hemsworth and Jessie Williams were now well known for
their roles in Thor (Branagh, US: 2011) and Grey’s Anatomy (ABC, US: 2005 -), thus
increasing anticipation towards the release. The film opened to 2,811 screens in the U.S.
(IMDb, no date) whilst the advertising of the film gave little away with the promotional
poster simply saying: “You think you know the story” (See Image 1.2). Furthermore the
image of the upside down cabin suggests the idea that the film is a commentary on the genre
itself, and in doing so creating suspense in regards to how the film would overturn the genre.
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Additionally, it can be argued that the success of its release was possibly due to the fact that
its writers were those that gave us Buffy: The Vampire Slayer (20th Century Fox, US: 19972003) and Cloverfield (Goddard, US: 2008) as well as the suspense that surrounded the film
for two years.
Image 1.2
[The Cabin in the Woods Promotional Poster] 2011 [Image Online] Available at:
[Accessed: 12th
March 2015]
Television has entered an era in which new shows are constantly being brought out, catering
to a range of audience members, and giving people more choice than ever before. Amanda
Lotz calls this the ‘post-network television experience in which viewers now increasingly
select what, when and where to view from abundant options’ (2007: 15). At a time where
there is an extremely high demand for TV shows to provide a large audience with something
new and captivating within the TV horror genre, American Horror Story, produced and aired
by FX, certainly delivered. Released in 2011 with the premier of its pilot episode receiving
‘just over 5 million Total Viewers […] and the gender split [being] 54% female (1.1 million)
and 46% male (946,000)’ (Seidman, 2011). The noticeable gender gap in the ratings
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demonstrates that the horror genre is not necessarily catered to and for a male demographic.
The lead up to the release of it’s first episode gave little away in terms of what to expect,
however, the promotional trailers and posters featured themes surrounding sexuality and
different depictions of femininity (See Image 1.3). By extension, the appearances of Connie
Britton and Jessica Lange as female leads added to the hype surrounding the show.
Image 1.3
[American Horror Story Promotional Posters] 2014 [Image Online] Available at:
[Accessed 12th
March 2015]
Similar to American Horror Story, Bates Motel produced and aired by A&E, also delivered
on its opening night. With the premise of the show being based on Alfred Hitchcock’s
Psycho, the show drew in a lot of attention from a wide range of audiences. Furthermore its
star studded cast, with Vera Farmiga, known for her roles in Up in the Air (2009) and The
Conjuring (2013), playing Norma Bates and Freddie Highmore, known for playing Charlie in
Charlie and the Chocolate Factory (2005), as the infamous Norman Bates, added interest and
intrigue before the first episode aired. The show’s pilot episode First You Dream Then You
Die ‘was watched by 4.6 million total viewers […] becoming the networks most-watched
original drama series debut among the key 18-49 and 25-54 demo[graphics]’ (Bibel, 2013).
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These opening ratings ‘indicate that the series has a far broader appeal than A&E’s typical
programming’ (Yaniz Jr, 2013). In contrast to American Horror Story, Bates Motel had a very
different marketing strategy as the hype around the show began before filming had even
began with details about characters and casting released in the process. The show’s female
lead character, Norma Louise Bates, was described as ‘the complicated, passionate and
compelling mother to Norman who is smart, multidimensional and always capable of
surprising people’ (Goldberg, 2012). Furthermore the trailers and promotional posters
revolved around the complicated and uncomfortable relationship between mother and son,
using the famous quote from the original film “A boy’s best friend is his mother” (See Image
1.4), leaving spectators to wonder whether this contemporary prequel would fully exploit the
relationship that is suggested in Hitchcock’s Psycho.
Figure 1.4
[Bates Motel Promotional Poster] 2013 [Image Online] Available at:
[Accessed 12th March
2015]
As previously stated the numbers for the opening of each film and TV programme prove that
the horror genre does not only cater for a male target audience. If we are to follow these
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figures the indication is that more films and TV shows within the horror genre are actually
providing room for strong female characters in order to attract a larger female-based
audience, with the exception of The Cabin in the Woods, which focused its promotion on the
suspense surrounding the film than on the characters that would be portrayed. The marketing
strategies used to promote The Descent and the two TV shows made a greater effort to
highlight their diverse female character leads, allowing for more films and TV shows to
rework gender stereotypes and address the question as to why society feels the need to
stereotype gender roles.
Chapter Two
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Does contemporary horror rework or conform to stereotypes placed on gender? An analysis
of ‘The Descent’ and ‘The Cabin in the Woods’
As previously mentioned, the horror genre is riddled with stereotypes that enable the
character to act in certain ways and make room for the spectator to view them differently. For
instance, within many horror films the woman is represented by her sexuality, as seen in The
Cabin in the Woods – CitW – where Jules (Anna Hutchison) is given the role of the ‘whore’
simply because she is in a sexually active relationship. Through an analysis of The Descent
and CitW this chapter will look specifically at ideas on the male gaze, women as the object,
the male monster and the Final Girl. By drawing from theorists such as Laura Mulvey and
Barbara Creed, this chapter will be able to question how stereotypes invite spectators to look
at characters in restricted ways. This will ultimately tie in with this dissertation’s argument
that these films are reworking the gender norms in relation to the genre and are commenting
on the absurdity of gender stereotyping.
Neil Marshall’s The Descent centres itself around six friends who go on a caving trip and
become trapped when they are caught in a rock fall, forcing them to go further underground
to find a way out only to ‘find themselves haunted by a race of fearless, hungry predators,
once humanoid but now monstrously adapted to live in the dark’ (The Descent, 2005). It is
interesting to note in terms of representing gender within horror, that the film follows a group
of six women, with the only man in the whole film being killed off within the first five
minutes. This is a rare occurrence within the genre and raises questions regarding how the
women and the male monsters are presented to the spectator and what they serve to comment
on.
Mulvey argues that within film ‘spectators are encouraged to identify with the look of the
male hero and make the heroine a passive object of erotic spectacle’ (Chaudhuri, 2006: 31).
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By simply having an all female cast The Descent already goes against part of Mulvey’s
argument, however, because the director is male it is possible to argue that the film is a
reflection of his fantasies projected onto the female characters (Chaudhuri, 2006: 35).
Therefore potentially conforming to stereotypes placed on women in horror films by turning
them into ‘spectacle[s] to be looked at’ (Chaudhuri, 2006: 2). Nevertheless, none of the
women in the film are presented to the spectator in a sexual or provocative manner, possibly
because there is no male who drives the narrative forward therefore spectators cannot identify
‘with “the active power” of the hero’s gaze at the woman’ (Chaudhuri, 2006: 35). Usually
within horror the stereotype would be to have the women dressed in revealing, inappropriate
clothing yet in a scene at the beginning of the film the women take a group photo dressed in
appropriate caving attire (See image 2.1), making it evident in terms of physical appearance
and mise-en-scene that the film rejects Mulvey’s notion of the woman as spectacle and the
idea of the narrative being driven by a male gaze. Furthermore The Descent successfully
eliminates the physical stereotypes as well as the main archetypal stereotypes, as each of the
women are successful and driven, thus the image of the powerless woman is replaced with
the image of a strong survivor.
Image 2.1
Group photo of all six women wearing convenient clothing (The Descent, 2005: 16 minutes)
Although The Descent has reworked the image of the woman and her physical sexuality, it is
the characterisation of each of the women and the monsters that raise questions concerning
gender stereotypes and ultimately show how this film is progressive in terms of gender
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representation. Robin Wood explains that the dramatic structure of the horror genre is usually
‘our collective night-mares […] in which normality is threatened by the monster’ (1979: 10).
Additionally, Barry Keith Grant explains that the majority of horror films ‘are consistent in
defining normality as the heterosexual, monogamous couple, the family and the social
institutions […] that support and defend them. The monster in these films is a projection of
the dominant ideology’s anxiety about itself’ (2006: 48). In other words the male protagonist
sees his fears mirrored through the monster, hence why ‘traditional approaches to the male
monster have tended to focus on his image as terrifying because of its association with
castration, dismemberment and death’ (Creed, 2005: VII). However this leads us to question:
since there are no male lead characters within the film, why then does The Descent portray
the monsters as men? A possible answer to this question lies in the ending of the film, which
can be interpreted to suggest that the monsters, also known as crawlers, are in fact not real.
Suggesting that Sarah (Shauna Macdonald), who is the last character standing, in her
“descent” into madness hallucinated them, in turn killing all of her friends. The last scene of
the film shows Sarah awakening, still in the cave completely covered in blood adopting
crawler like movements whilst hallucinating her dead daughter (See Image 2.2). If Grant’s
explanation regarding the monsters in horror films is taken into account, then it is possible to
argue that the crawlers were Sarah’s own manifestations of anxiety regarding her lack of
family and monogamous relationship, as it is later revealed that Juno and Sarah’s husband
were having an affair.
Image 2.2
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(Left) Sarah waking up finding herself still in the cave (Right) adopting crawler like
movements (The Descent, 2005: 94 minutes)
In turn this interpretation of the ending further allows an attempt at answering one of Barbara
Creed’s questions: ‘What are the differences, if any, between male and female monsters?’
(Creed, 2005: VII) It can be argued that within this film there is no difference between the
male and female monster, each, regardless of gender, are as terrifying as the other. Creed
argues that ‘through the figure of the male monster, the horror film speaks to us about our
origins, our deep-seated anxieties and our debt to women, nature, the animal and death’
(2005: XV). However by presenting the spectator with the possibility that the crawlers were
actually projections of Sarah, the film re-works the stereotype of women needing to be saved
from the male monsters when in fact it is the woman who is the monster. As a result the film
also allows for a reworking of the dominant ideology by addressing the idea that women too
can project their anxieties about themselves into monsters. Consequently this portrayal could
potentially prove to be problematic, as it still perceives women as monsters simply because of
their gender. Nevertheless it remains to be a refreshing take on gender roles within the horror
genre as most portray women to be mentally and physically weak.
In addition the film utilises Carol Clover’s idea of the Final Girl, in which she argues ‘is
phallicized, given masculine traits and a boyish name’ (Chaudhuri, 2006: 101). She further
‘describes the Final Girl as ‘a figurative male’, who allows the mostly male audience of the
genre to identify across the lines of gender’ (Chaudhuri, 2006: 101). If this argument is
discussed through The Descent’s Final Girl it is evident that only part of this statement is
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applicable. Firstly the Final Girl has a non-boyish name, Sarah, and it is only at the end of the
film that spectators see her possibly taking up physical masculine traits. This in turn supports
Creed’s counter argument that just ‘because the heroine is represented as resourceful,
intelligent and dangerous, it does not follow that she should be seen as a pseudo man’ (Creed,
1993: 127). Nevertheless the film does not totally eradicate the use of the Final Girl, as there
is one character whose characteristics can be associated with those of the Final Girl. Out of
all the women it is Juno who is given the most masculine traits. Apart from being given an
androgynous name, it is evident from the beginning that she is physically strong, as well as
narcissistic and presumptuous evident in her decision to lead the group, without their
knowledge, to the undiscovered caves. By having Juno take up these masculine traits, the
film allows for the male viewers to identify with ‘a figurative male’ (Chaudhuri, 2006: 101).
However by not making Juno the Final Girl The Descent re-works the stereotype of the Final
Girl, whilst maintaining a male gaze through Juno’s character.
In contrast, Drew Goddard’s The Cabin in the Woods parodies horror’s stereotypes in this
‘metageneric sf/horror hybrid’ (Venezia, 2013: 411). Which ‘set[s] out to embrace the genre
and [tries] to do something new’ (Goddard, 2012: 26 minutes). The film focuses on a group
of students who take a trip to a cabin in the woods, in which they are being observed and
manipulated through technology and drugs by a shadowy high-tech corporation (Venezia,
2013: 411). Once they have played out the role of their stereotype they are killed and
sacrificed to the Gods. The analysis of CitW will aim to aid this dissertation’s argument that
contemporary horror films are realising the out-dated nature of gender stereotypes within the
genre through the use of parody, allowing for a reworking of gender roles. Many reviews of
the film praise Goddard’s and Whedon’s take on the genre’s use of stereotypes, with Whedon
himself describing the film ‘as a “loving hate letter” to horror movies, and you could interpret
it as an experiment on the genre itself’ (Ebert, 2012). In another review the film is described
as ‘lay[ing] the horror genre bare, critiquing its conventions and creating a space for a larger
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cultural conversation’ (Rodriguez, 2012). Rodriguez then continues to explain that the most
important critique is that of ‘the virgin/whore dichotomy that cinema and society seem to
insist is the only way we can view most women’ (2012). It is explained early on in the film
that there is an order in which the deaths must occur, with the whore being the first and the
virgin being the last if not at all. An idea that will be explored further in regards to the film’s
reworking of gendered stereotypes.
The five students in the film each ‘resemble a spectrum of teen horror stereotypes – jock,
scholar, slut, virgin and pothead’ (Venzia, 2013: 411), however it is through the process of
manipulation that these characters play out these roles. Whilst the two female characters are
conditioned to playing out the only two stereotypes given to women, the whore and the
virgin, it is the men who are influenced the most in order to fit into their assigned stock
archetypes. We are introduced to Curt (Chris Hemsworth), Holden (Jesse Williams) and
Marty (Fran Kranz) within the first ten minutes of the film and throughout small details in
their personality and appearance are manipulated in order to accurately portray their assigned
stereotype. Although it is fairly obvious from the introduction of Marty that his role will be to
play the ‘pothead/joker’, it is more ambiguous as to what roles Curt and Holden are assigned
to. At first Curt and Holden both appear to be athletic with Curt first introduced walking into
Dana’s room throwing a football which neither Dana nor Jules attempt at catching, leaving it
to fly out the window, thus introducing us to Holden who catches the ball. Curt then informs
us that Holden transferred from another school and has the “best hands on the team” (The
Cabin In The Woods, 2012: 4 minutes). However moments later the audience learn that ‘Curt
is actually a sociology student on a full scholarship’ (Pols, 2012) proving that he isn’t just
interested in being an athlete, thus alluding us into thinking that he could play the role of the
scholar. It isn’t until they reach the cabin that the manipulation of Curt and Holden takes
place with the ‘puppeteers hav[ing] to inject drugs into the air to make Curt more aggressive
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and alpha male’ (T, 2012) whilst Holden becomes more scholarly with the addition of glasses
and the ability to speak Latin.
When assigning stereotypes to Dana and Jules it is fairly easy to assume who will play which
role and because ‘each cliché [is] carefully counterbalanced with an incisive comment on the
absurdity of the genre’ (Miller, 2012) the only reason Dana is assigned the ‘virgin’ is because
she’s isn’t in a monogamous sexual relationship. Although Dana could arguably be perceived
to fit into the ‘whore’ stereotype instead of Jules, since it is revealed within the first few
minutes of the film that Dana was romantically involved with her married professor. Whilst
Jules’ assigned stereotype is aided by her new transformation into a blonde and her outgoing
and flirtatious personality reaffirms her role within the narrative, Dana is manipulated into
becoming innocent and naïve. Due to the nature of Jules’ stereotype the film comments on the
genre’s need to over sexualise certain female character, furthermore ‘call[ing] into question
the notion that women who like sex or who own their sexuality are whores’ (Rodriguez,
2012).
Unlike The Descent, CitW clearly highlights Mulvey’s argument of women becoming ‘a
passive object of erotic spectacle’ (Chaudhuri, 2006: 31), showcasing how horror films are in
essence a projection of male fantasies. There are two scenes in particular both involving
Jules, which support Mulvey’s views that the woman ‘holds the look, plays to and signifies
male desire’ (Mulvey, 1990: 33). Within the first scene the five friends are in the cabin
drinking and listening to music, although Jules is the only one dancing. A medium shot shows
her standing in front of the fireplace with her back turned to the camera before she begins to
dance provocatively, and then seductively walks over to Holden preparing him for a lap
dance (See Image 2.3) before turning her attention to Marty who questions her odd behaviour.
Due to her assigned stereotype, Jules is objectified in the most sexualised manner; she is
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viewed as fulfilling her duty as a woman by making herself available to cater to men’s sexual
desires.
Image 2.3
(Left) Jules’ provocative dancing (Right) Jules flirting with Holden (The Cabin in the Woods,
2012: 34 minutes)
The second scene takes place straight after; Jules and Curt run into the forest prepared to
realise Jules’ stereotype that will ultimately lead to her demise. At this point spectators are
reminded that the students are being watched and once again it is Jules’ body that is
objectified (See Image 2.4). Sitterson (Richard Jenkins) and Hadley (Bradley Whitford) who
we learn are in charge of the operation, manipulate the scene in order to persuade Jules to
play out her role as the ‘whore’, and when questioned by another onlooker if they have to
watch, both Sitterson and Hadley explain:
Hadley: “We’re not the only ones watching kid”
Sitterson: “Gotta keep the customer satisfied”
(The Cabin In The Woods, 2012: 39 minutes)
This scene directly displays an awareness of Mulvey’s theories on the male gaze, by
considering the audience as “customers” the film serves ‘not only [as] an indictment of the
horror genre but of the voyeuristic spectatorship that perpetuates these horror tropes’
(Rodriguez, 2012). Once Jules’ breasts are revealed to spectators Hadley and Sitterson
organise her gruesome death, which again explicitly highlights the assumption ‘that women
who like sex or who own their sexuality are whores’ (Rodriguez, 2012).
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Image 2.4
(Left) Workers anticipating watching Jules undress (The Cabin In The Woods, 2012: 37
minutes) (Right) Sitterson and Hadley taking pleasure in watching Jules undress (The Cabin
In The Woods, 2012: 39 minutes)
If CitW revolves around overturning horror tropes it is reasonable then to discuss whether a
space is provided for the female gaze. There is only one scene in which this is offered and
occurs once the group have reached the cabin and decide on their bedrooms. Holden’s room
contains a grotesque painting hanging on one of the walls, which he removes to reveal a large
mirror that sees into Dana’s room. Holden waves his arms in front of the mirror checking
whether Dana can see him, however it is made clear by Dana’s facial expression and her lack
of acknowledgement towards Holden that she can’t see through into Holden’s room. Holden
continues to stare until she begins to unbutton her shirt at which point he begins to panic,
pausing to glace at her before deciding to let her and everyone else know about the mirror
(See Image 2.5). After having informed the group, Holden offers to swap rooms with Dana to
make her feel comfortable, once they have swapped rooms Holden begins to undress taking
off his shirt. As the camera lingers on Holden Dana moves closer to the mirror admiring his
body (See Image 2.6). At this point Holden is the sexual object, allowing for him to become
objectified by the camera in the same way that a woman would, furthermore Dana’s control
of the gaze is significant in comparing the amount of time spent looking at his body in
contrast to the brief moment Holden spent controlling the gaze.
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Image 2.5
Holden’s averted gaze (The Cabin In The Woods, 2012: 15 minutes)
Image 2.6
(Left) Holden’s body objectified by the camera (Right) Dana’s longing stare (The Cabin In
The Woods, 2012: 17 minutes)
Mulvey argues that ‘In a world ordered by sexual imbalance, pleasure in looking has been
split between active/male and passive/female’ (Chaudhuri, 2006: 35). Meaning that it is the
male who is in charge of the looking whilst the female is the spectacle, yet in this case
Holden hands the control of the gaze over to Dana knowingly. In giving Dana control over
the gaze, the female spectators can now identify with the passive male, ‘acknowledging the
lack of difference between him and Dana’ (Stephenson, 2014: 32). In doing so the film
reworks the norm of simply allowing for a male gaze to be present throughout the whole film.
As mentioned previously the sacrificial killings are ordered with the virgin being the last to
die; although it is explained that as long as she is the last, it is unimportant whether she dies
or not. Like in The Descent, CitW resonates Clover’s ideas on the Final Girl. The final scene
sees Dana and Marty – the two remaining survivors – being told by The Director (Sigourney
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Weaver) that in order for the ritual to be completed and for the human race to survive Dana
must kill Marty, and she almost does until a wolf attacks her. Giving Marty the opportunity to
grab the gun and shoot the wolf and The Director in order to save himself and gain justice for
his friends. The final moments of the film sees the world around them crumbling as Marty
and Dana smoke a joint. In relation to Clover’s essay ‘Her Body, Himself: Gender in the
Slasher Film’ (1987) she describes that ‘the Final Girl is also watchful to the point of
paranoia; small signs of danger that her friends ignore she takes in and turns over […] the
Final Girl is boyish, in a word’ (1987, 204). CitW sees this slasher film trope overturned, as it
is Marty, the fool, who sees and predicts what is really going on. Indeed the film goes against
the gendered stereotypes of the typical horror slasher film but it can be interpreted in a way
that raises concerns. The whore is usually killed first because she is corrupted whilst the
virgin is allowed to live because she remains pure and innocent. Yet in CitW Dana is far from
pure and her death is at the hands of a wolf bite cemented by the crumbling of the world
around them, thus implying that even though the chosen virgin is in fact not a virgin she too
must be punished for her sexuality.
The above discussion has identified and analysed how The Descent and The Cabin in the
Woods tackle the ideas of stereotypes within the genre. It is clear in The Descent that the
character’s gender does not play a part in the way we view them in relation to the narrative.
Unlike CitW, the order of the women’s deaths is irrelevant and the possibility of having a
female monster offers a reworking of gender roles within the genre. In contrast CitW offers
the majority of horror’s stereotypes in a way that ‘exposes the falseness of gender stereotypes
and lays bare what society is really afraid of – losing socially constructed femininity and
masculinity’ (Smalls, 2012). Lastly the humour provided aids the gruesome deaths and serves
to point out the out-dated gender conventions of the genre.
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Chapter Three
Sexual violence and the maternal image in ‘American Horror Story: Murder House’ and
‘Bates Motel’
Unlike films, TV shows are allotted significantly more time to go through a single storyline
and are therefore able to address issues that they want to confront the spectators with in more
detail. In the past screening horror on television was much more problematic as ‘restrictions
[were] imposed by the network concerned about alienating audiences and the potential for
negative audience reaction’ (Jowett and Abbott, 2013: xiii). As pointed out in Chapter One,
there is currently a high demand within the horror genre to present something new and
disturbingly good, thus the reins on what is considered appropriate to show have been
loosened. As a result shows such as American Horror Story – AHS – and Bates Motel have
crossed the boundaries calling on a range of horror tropes in order to create interesting
storylines and concepts, in turn allowing for an in depth questioning of sexualised violence
and the maternal image within the horror genre. This dissertation has already established that
many films and TV shows within the horror genre conform to certain damaging stereotypes
of women, however, ‘television has given us complex and contradictory female characters
who reflect, direct and occasionally critique America’s fantasies and anxieties about historical
gender roles and norms’ (Helford, 2000: 1). This chapter will directly discuss the ways in
which AHS and Bates Motel portray and comment on the way the genre depicts and utilises
sexualised violence against women and the image of the mother as a character’s flaw,
primarily addressed through an analysis of Bates Motel.
Whilst the first chapter of this dissertation analysed the successful ratings of both shows,
equally important are the cultural reviews in regards to their portrayal of women and the
ways in which they reworked gender within the genre. James Donaghy in his review of AHS
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for The Guardian notes that ‘[r]arely has a show provoked such widely divergent reviews
[…] It’s the Marmite of TV shows’ (2012); whilst The Washington Post called it ‘the most
visually arresting and twisted new television show of the year’ (Stuever, 2011). Yet many
reviews that discuss the show’s portrayal of women tend to agree that the show does depict
‘strong characterizations of steely, biting, smartly-drawn females of all ages and stages’
(Lowen, 2011). Whilst AHS received divided opinions Bates Motel seemed to exceed
people’s expectations, many praising the performances given by Freddie Highmore and Vera
Farmiga as Norman and Norma Bates and the unhealthy relationship between the two, with
The Guardian claiming the shows ‘main selling point is that it revolves around two standout
performances’ (Carty, 2014). Yet the female leads within the series each depict different
versions of femininity and the archetypal mother is considered to have feminist qualities
(Klassen, 2015).
Brad Falchuk and Ryan Murphy’s American Horror Story was created as an anthology series,
with its first season, Murder House, airing in 2011 and recently just been renewed for a fifth
season. Each season has dealt with an entirely new storyline and completely different
characters allowing for the show to re-create itself each time ‘tak[ing] familiar horror tropes
and reinvent[ing] them’ (Jowett and Abbott, 2013: 41). AHS calls on a range of well-known
horror tropes: the haunted house, vengeful ghosts and the fragile American family hopeful for
a new start. Murder House follows the Harmon family, Vivien (Connie Britton), Ben (Dylan
McDermott) and their daughter Violet (Taissa Farmiga) who decide to move to LA in order to
start afresh in their new home only to discover that it is haunted by a large number of people
who were violently murdered in the house.
The use of sexual violence towards women is usually exploited within the horror genre in
order ‘to make violent eroticism more acceptable in mainstream media [and] American
Horror Story emphasizes these themes until they’re impossible to ignore’ (Berdie and Tiffany,
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2014). Furthermore the numerous scenes depicting sexual violence make reference to ‘gender
roles, mental illness and identity politics’ (Lapekas, 2014), which ultimately acknowledges
the extensive use of sexual violence as a horror narrative trope. Sarah Projansky argues that
‘rape is one of contemporary US popular culture’s compulsory citations […] embedded in all
of its complex media forms’ (2001: 2). She continues to argue that ‘representations of rape
naturalizes rape’s place in our everyday world, not only as real physical events but also as
part of our fantasies, fears, desires and consumptive practices’ (Projansky, 2001: 3). Within
AHS the issue of rape and sexuality is very much at the forefront of the show with a rape
scene occurring in the very first episode, Pilot. In a scene towards the end of the episode we
see Vivien Harmon in her bedroom preparing for bed when a man, who the spectators along
with Vivien assume is her husband Ben, appears in a black rubber bodysuit (See Image 3.1).
Throughout the entire scene he remains silent, with Vivien thinking that it is all part of the act
she states that she “can be kinky” (American Horror Story, 2011: 40 minutes) at which point
the scene cuts to a gas stove being turned on. The camera lingers on the stove before
revealing that it is Ben who is turning it on, thus informing the spectator that the person in the
bodysuit is in fact a stranger. The scene then continues to cut between Vivien being raped by
the man in the bodysuit and Ben by the kitchen stove. It isn’t until episode eight, titled
Rubber Man, when we find out that Vivien’s rapist and father to one of her unborn twins, is
Violet’s ghost boyfriend and Ben’s patient, Tate Langdon (Evan Peters).
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Image 3.1
The mysterious Rubber Man (American Horror Story: Murder House Episode 1, Pilot: 40
minutes)
This scene proves to be highly disturbing for numerous reasons, yet it also reworks the horror
trope of having a highly violent and sexualised rape scene. Whilst ‘violence of some kind,
even if understood as simply the threat of violence, is absolutely essential to the horror genre’
(Kendrick, 2010: 79-80), it is nevertheless ‘mostly women whose ultimate horrors are
recognised’ (Berdie and Tiffany, 2014). Furthermore James Kendrick explains th