Sample Answers

FILM1000

FALL-WINTER 2015-16

FINAL EXAM – STUDY SHEET

The Final Exam will consist of short-answer questions for a 30% of the Final Grade:

The material covered includes the readings, class lectures and films discussed in class (including the film clips shown) during the full course with a special emphasis on UNIT IV.

                                                                                        

Examples of Short-Answer Questions:

-        Definition of terms (Glossary)

-        Use Citizen Kane to explain what is Story and what is Plot?

-        Name five main techniques used in Continuity Editing.

-        Define Genre Evolution and briefly explain each cycle.

-        How does the Auteur Theory work? Use examples from films seen in class.

-        Explain the differences between Isabel Pinedo’s and Carol Clover’s analysis of “The Final Girl” theory. Give specific examples from films seen in class.

-        What is the main difference in narrative focus between the commitment and the reaffirmation comedies?

-        Discuss ALL the thematic concerns of Canadian cinema using examples from Quebecois films seen in class.

-        Discuss ALL the formal concerns of Canadian cinema using examples from Quebecois films seen in class.

-        Discuss the socio-cultural representation of Quebec in its Horror films.

-        Discuss the socio-cultural representation of Quebec in its Romantic Comedies.

-        Explain Stuart Hall’s concept of Cultural Identity and its two approaches.

-        Discuss the understanding of Canadian National Identity and use examples from Quebecois films seen in class

-        Explain Benedict Anderson’s definition of Nation as an Imagined Community.

Film1000 Final Exam Review:

Montage Style Editing:  an editing technique that stresses the dynamic relations between shots, often associated with the Soviet filmmakers of the 1920s and seen as an alternative to continuity editing. In Europe montage is often used as a synonym for editing.

Mise-en-scene: the arrangement of visual weights and movements within a given space. Everything that effects what is going on in a scene ( physical setting, décor, staging, framing, actors etc)

Story: all the events that we see, hear about, or infer in a fiction film in the order in which they are supposed to have happened. The filmmaker constructs the plot from these events; the spectator reconstructs the story on the basis of the information supplied by the plot. All the events (seen, heard, inferred) of the films narrative in chronological sequence.

Plot: the arrangements of the story events in the order in which they appear in the film. For example, events that occurred in the past might be introduced at any point through flashbacks or dialogue. All the events (seen, heard) in the same order that are presented to us including formal events.

In Citizen Kane: (Orson Welles)

Multimillionaire newspaper tycoon Charles Foster Kane dies alone in his extravagant mansion, Xanadu, speaking a single word: "Rosebud". In an attempt to figure out the meaning of this word, a reporter (Thompson) tracks down the people who worked and lived with Kane; they tell their stories in a series of flashbacks that reveal much about Kane's life but not enough to unlock the riddle of his dying breath.[AF1] 

Five main techniques used in Continuity Editing:

Continuity Editing: a system of editing to maintain continuous and clear narrative action by matching screen direction, position, and temporal relations from shot to shot.

1)      To produce Spatial and Temporal Continuity

2)      To produce continuity of action between shots

3)      To maintain audience Orientation and Involvement

4)      To create a rhythm appropriate to the action and dramatic conflict

5)      To produce a Transparent Form and Style

Genre Evolution: a way of grouping genre films according to variations of formula plots, conventions and iconography. Genre/Subgenre: horror/slasher, horror/zombie, horror/monster

Formula plots: basic conflict familiar to viewers

Conventions: specific ways in which the formula plot is translated into visual action, plot- episodes the recur from film to film, form- stylistic elements which are part of the mise- en- scene, characterization, performance.

Iconography: images and objects that are significant elements of the formula plot, visual motifs, emotional weight

Transgeneric: Combine the formula plot, conventions, and iconology of two or more specific genres. Example: Shaun of the Dead: ZOMROMCOM

Auteur Theory:  relationship between the text (film) and the reader (spectator)

·       Binary oppositions that Hollywood filmmakers explore tend to be “universal” (for global audience)

·       Filmmakers from minor cinemas, although they also deal with “universal” themes, tend to include much more specific topics appealing to their local audience. (Polytechnique- black and white film to avoid the presence of blood on screen), Bon Cop, Bad Cop) both films shot in Montreal Quebec.

Differences between Isabel Pinedo and Carol Clovers analysis of “the Final Girl” theory and give examples from films seen in class: 

Isabel Pinedo: (Surviving Female) “And then she killed him: woman and violence in the slasher film”.  Pinedo points to several critics who believe that the majority of slasher films are gendered masculine. It is typically assumed that a slasher audience is predominantly male. Female deaths are usually much more visually glorified than male death. Typically in the first half of the film the spectator is aligned with the look of the monster (often through POV shots); however in the second half of the film, this alignment shift and the spectator begins to identify with the look of the final girl, through the use of closeups and  subjective camera. Thus the monster becomes the object of aggression and the final girl becomes the agent of violence.

Carol Clovers: (The Final Girl) advances the idea that the primary pleasure for male viewers of the genre is a masochistic rather than a sadistic one. The list of traits associated with this concept is she is usually positioned as sexually unavailable (most often a virgin), she is more watchful, bordering paranoid, as she sees danger long before anyone else in the film( hence is why she is able to outlive the others); she is often characterized as both intelligent and resourceful, able to fight and potentially destroy the monster.  You’re Next

Laura Mulvey: The Male Gaze, Mulvey argues that cinema constructs its female characters as passive objects to be looked at by the active male subjects. The female characters have no agency, they are literally there to be eye-candy. That is, to be looked or gazed at.

These films take delight in showing us the terror of female victims, showing them running upstairs, downstairs, outside, banging on doors that are destined to never open, etc. They usually scream, cry, and plead for their lives. Many death scenes take place in private spaces like bedrooms, bathrooms, showers, bathtubs. 1. Sexual tease, 2. The encounter ( attack) and finally the climax ( the death). When men die it is often very quick and offscreen. 

Differences in narrative focus between commitment and reaffirmation comedies?

The narrative focus on commitment comedies: is the establishment of the couple and focus on courtship.

The narrative focus on reaffirmation comedies: is the remarriage, winning back to affections of a former partner, more interested if feelings than courtship.

Thematic concerns of Canadian Cinema:

·       History: How, who, all levels (national, cultural, personal)[AF2] 

·       Memory: remembrance and limitations, individual and collective[AF3] 

·       Landscape: Rural vs Urban, landscape and cultural expression[AF4] 

·       Technology: relationship between individual and society, notion of nation[AF5] 

·       Identity: to be Canadian, self conscious/self reflective[AF6] 

·       Epistemology: philosophy of knowledge[AF7] 

·       Alienation: uncertainty in identity: outsiders, alienated, torn by cultural influence[AF8] 

Film: Monsieur Lazhar is about identity, belonging and multiculturalism.[AF9] 

Formal concerns of Canadian Cinema:

·       Diversity in film practice (feature and shorts)

·       Narrative: transgeneric and mixture of practices

·       Create own kind of cinematic forms

·       Different endings

·       “Invisible Camera”= aesthetic freedom

·       Bilingualism: Language French: Industry in Montreal, English in Toronto and Vancouver

Socio-cultural representation of Quebec in it’s Horror Films:

National cinema as a thriving industry when genre films are flourishing.

There is room in Quebec for auteur-driven features as well as genre films.

To encourage diversity in feature film production, Telefilm supports a wide range of genres and budgets. (Telefilm Canada)

Quebec horror films reflect 4 simultaneous factors:

1.      Diversification of the industry in the province

2.      Rise of filmic adaptations of popular literature as a viable practice

3.      A critical perspective towards traditional themes of Quebec culture

4.      Creative potential of co-production

Most horror films produced in Quebec since 2000 have been based on popular novels that reflect cultural concerns, like most horror films normality is threatened by the monster.

Film: Sur Le Seuil

Socio-cultural representation of Quebec in it’s Romantic Comedies:

·       Since 2011, wide international success

·       3 Oscar nods in 3 years: Monsieur Lazhar, Incendies, Rebelle

·       Quebec films losing appeal for local audiences

·       2012: only 4.5% of local box office

·       Use of genre filmmaking, especially comedy and horror

·       Casting of well-known local actors from film and TV: Patrick Huard, Michele Cote

·       Canadian cinema= Mainstream vs. Auteurism

·       Quebec favorite genre: Quebec cinema can always rely on comedies to be successful

·       Simple stories built around amusing vignettes

·       An offensive sexual topic (such as the sperm bank in Starbuck- romantic comedy)

·       Deux femmes en or follows the typical formula very closely. It is somewhat unique in its focus on woman.

·       Quebec comedy is a very masculinist genre, focusing on likeable but ineffectual men:

o   Who are clinging to their idea of a perfect heterosexual relationship

o   Who are trying to be good fathers

o   Who just want to get laid

The whole plot of Starbuck results from David’s initial irresponsibility , which then turned around when he decides to become a good father to his 533 children. From then on, he is fixated on re-establishing the “stability of the heterosexual couple”, through devotion to his children and a monogamous commitment to his girlfriend through traditional marriage. David’s “search for self-identity” eventually crystallizes in the person of “Starbuck.”

Stuart Hall’s concept of Cultural Identity and it’s two approaches: a production that is never complete, always in process.

Homogenous identity:

·       one, shared culture

·        collective “one true-self”

·        Important in post-colonial struggles

Heterogeneous identity:

·       points of similarity and critical points of significant differneces

·       differences constitute “what we really are” or rather “what we have become”

·       A matter of “being” (past) as well as of “becoming” (future)

Discuss the understanding of Canadian National Identity and use examples from Quebecois films seen in class:

Films reflect traditions and culture of the nation, national myths grow out of peoples shared experience of history and geography in the national culture. We are all influenced by those myths whether in favour or against. Emergence of multinational corporations and multi-alliances between nations ( EU, NAFTA). Minority ethnic groups vindicating their cultures. National cinemas need the support of Government to survive. (subsidies & tax incentives)- investment of public money, quotas- Canadian film in theatres for 3 days. An example of National Identity was displayed in Bon cop, bad cop through objects and symbols like a Canadian Flag on the house in the opening scene, the bilingual title of the film Bon cop, bad cop language in both English and French, the victim of the body was found on the Ontario/Quebec border so both police forces were involved the OPP and Quebec police. The weapons that were used in the movie were a hockey stick and skate, and the story was based around hockey which is a well known Canadian sport. Quebec flag was present in the office of the Quebec police department. The French police officer was rough around the edges, heavy smoker, and drove like a maniac like he was above the law. The other officer was from TO and was very professional and clean cut. Others landmarks to prove it was a Canadian film was the view of TO and the CN tower.   Bon cop- English cop (Martin) from TO, and bad cop- French cop (David)from Quebec, Montreal. Tatoo of fleur de les on QC actor. Ontario and Quebec plates on vehicles. Beaver Mascot for hockey team. Credits show funded by the Government of Canada. Polytechnique is based on the Montreal Massicure which took place in Montreal at a French school in Quebec- true story of 14 woman shot and killed by a gunman.

Films: Bon Cop, Bad Cop & Polytechnique

Explain Benedict Anderson’s definition of Nation as an Imagined Community: Nation is an imagined political community; and imagined as both inherently limited and sovereign” (Imagined Communities)

Imagined: “because the members of even the smallest nation will never know most of their fellow-members, meet them or even hear of them, yet in the minds of each lives the image of their communion.”

Limited: “because even the largest of them has finite, if elastic boundaries, beyond which lie other nations.”

Sovereign: “because the concept of nation was born in an age where the legitimacy of devine dynasties (endorsed by god and the church) was substituted by man-decided governments.”

Community: “ because regardless of the actual inequality and exploitation that may prevail in each, the nation is always conceived as a deep, horizontal comradeship.

Films viewed in class:

Unit 1- Style and Technique

1. Classic Narrative Cinema I (Story & Plot):  Citizen Kane

2. Classic Narrative Cinema II (Continuity Editing): To be or not to be

3. Classic Narrative Cinema III (Cinematography): Hero

4. Classic Narrative Cinema IV ( Mise-en-scene): Pan’s Labyrith

5. Classic Narrative Cinema IV (Long Take): REC

6. Alternatives to Classic Narrative Cinema I (Narrative Construction): Rashomon

7. Alternatives to Classic Narrative Cinema II (Intellectual Montage and Discontinuity Editing): Vivre sa vie

8. Alternatives to Classic Narrative Cinema III (Post Classical Narrative): Y Tu Mama Tambien

Unit 2- Film Genres

9. Romantic Comedy I (The Classic Period): Adam’s Rib

10. Romantic Comedy II ( The Nervous Romance): Annie Hall

11. Romantic Comedy III ( The New Romance): Moonstruck

12. Horror I (The Return of the Repressed): Shivers

13. Horror II ( Gendered Horror): You’re Next

14. Horror III (Transgeneric Horror): The Cabin in the Woods

Unit 3- The Filmmaker

15. The Director as Auteur I: Psycho ( Alfred Hitchcock)

16. The Director as Auteur II: Psycho( Gus Van Sant)

Unit 4- A Period in Film History

17. Contemporary Quebec Cinema I: National Cinema: Bon Cop, Bad Cop

18. Contemporary Quebec Cinema II: The Director as Auteur I:  Polytechnique

19. Contemporary Quebec Cinema III: The Director as Auteur II: Monsieur Lazhar

20. Contemporary Quebec Cinema IV: Horror: Sur le seuil

21. Contemporary Quebec Cinema V: Romantic Comedy: Starbuck

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 [AF1]This is plot—all what we see and hear. But story is all what we see, hear, or INFER.

 [AF2]Example: Polytechnique, Monsieur Lazhar

 [AF3]Monsieur Lazhar, Polytechnique

 [AF4]Sur Le Seuil

 [AF5]Cube, Scanners, Shivers

 [AF6]Starbuck, Bon Cop Bad Cop

 [AF7]We watched no related film

 [AF8]Shivers, Sur Le Seuil

 [AF9]And memory

Sample Essay #1 Alfred Hitchcock: Auteur du Cinema. By: Keara Williams

What constitutes a great director from a good director? How must a director compose his films in order to set themselves apart from the rest? According to film critic Andrew Sarris, a director must adhere to the auteur theory. Sarris divides the definition of auteur theory into three premises constructed as three coaxial circles. He describes “the outer circle as technique; the middle circle, personal style; and the inner circle, interior meaning”[1] A director must possess these qualities in their films in order for them to be considered an auteur du cinema. However, not all directors make the cut for auteur du cinema. They fall into what Truffaut denotes as the ‘metteur en scenes’. Auteur theory is heavily “concerned with interior meaning, the ultimate glory of the cinema as an art.”[2] This is the third premise – otherwise known as the mise-en-scene. It requires the innovative creations of the director to use certain formal elements in a stylistic way that is autonomous to them. It is analogous to the stamp a craftsman marks on their product. Looking at Alfred Hitchcock, he is arguably deserving of the title of auteur. Analyzing two well-known thrillers he has directed known as Psycho (1960) and The Birds (1963), they encompass recurring formal elements and themes that audiences can tribute as Hitchcock’s style. Hitchcock’s artistic arrangement of cinematography, and sound, or lack thereof, grants his films a distinctive quality in which classifies him as an auteur du cinema.

Hitchcock’s cinematography is well-known and respected for two main techniques. This includes the zooming in or out of a camera’s lens and actual physical panning motion of a dolly to confine the scene or create space. In the The Birds and Psycho, Hitchcock decided to make the opening scene in both films not begin with just a simple, static shot but rather a slow pan into the action. In The Birds, the camera tracks Melanie Daniels movement to keep her in frame. The camera pan movement mimics that of the point-of-view of a bird in flight. It’s as if Melanie Daniels is being watched closely by a bird and we, as the audience, experience the bird’s watchful gaze ourselves. Regarding the birds as a whole, they seem to have a sole purpose of disrupting the narrative. A loud bird caw interrupts this calm progression into the scene. Hitchcock cuts to a point-of-view shot of Melanie watching the birds amassing in the sky. This foreshadows the importance of the birds in the film. The tracking movement of the camera is picked up again when Melanie enters the pet shop.  Hitchcock utilizes the continuity-editing technique so our eyes can follow Melanie as she interacts with Mitch and the birds in the pet shop. The attraction of the two characters is evident as we watch them both move about the space forming a courtship. Our leading man and lady can be seen as two love birds themselves. This conclusion can be made by the audience due to Hitchcock’s clever decision of using a dolly to move in and out of the scene with no interruptions. In Psycho, the same fluid motion into the opening scene applies. However, its significance differs from what is seen in The Birds. Hitchcock systematically progresses the scene. The camera pans over the normal city atmosphere of Phoenix, Arizona and then proceeds to zoom in on an opened window, darkness awaiting us on the inside. The audience is sucked into a world “of claustrophobia, anxiety and shady love between two unfree people, the two lovers Marion Crane…and Sam Loomis...behind the Venetian blinds in their hotel room”.[3] Hitchcock’s choice of the pan and zoom shot sequence is not to be taken literally. This opening scene is packed with metaphorical and figurative underlying meanings.  The camera movement sort of soars across the illuminated city and then slows to an ominous zoom towards the dark, enclosed world of the lovers. Hitchcock has intentionally created a “sequence [that] is exclusively visual except for Herrmann's music, signifying the transition from normal to abnormal”.³ This scene also gives insight as to why Marion Crane stole the forty-thousand dollars. Clearly her criminal act demonstrated how desperate she was to be with her lover and make a life for them.

Another technique that is impeccable in Hitchcock’s cinematography is his extensive use of close-ups. This technique can highlight the reactions of characters to the action. In The Birds, this is evident with Melanie’s expression as she witnesses the gas ignite from inside the restaurant. A series of rapid cuts from her face back to the catastrophe about to unfold generates the suspense. The spectator and Melanie are helpless to stop the explosion from happening. The audience shares Melanie’s abject terror due to the intense, repetitive close-ups on her face. It is very unnerving to cut back from the shot of where the disaster is about to happen and Melanie’s horrified face. Hitchcock strategically times the interjecting cuts so the audience can witness every succeeding shot displaying the fire getting closer and closer to its target - the gas station. This scene from The Birds almost, if not completely, correlates to the famous ‘shower scene’ in Psycho. Here, Hitchcock uses a close-up to highlight an object and a reaction. The audience can infer what ‘Norman’s mother’ is planning to do with the knife with the use of a close-up. The abject terror that emanates from Marion Crane’s face as she is being stabbed to death (accompanied by a bloodcurdling scream), is captured by a close-up shot. Hitchcock utilizes the same intercutting technique seen in The Birds, in Psycho. The shots switch from the ominous figure - to Marion - to the knife in succession. Hitchcock films the murder scene this way for maximum grotesque effect.

This close-up technique is also very effective when highlighting the little details in a scene.  Hitchcock draws attention to objects that he urges the audience to keep a close watch on. In The Birds, Hitchcock creates suspense in the lead up to when Melanie Daniels is brutally attacked by a swarm of birds in the attic. There is another use of the subjective point-of-view shot as she ascends the stairs bravely, yet unaware of her horrid fate. She lingers by the door uneasily. The audience watches with great intent as the camera focuses in on Melanie’s frail, outstretched hand that is reaching for the doorknob wearily. The suspense that Hitchcock creates leading to the climax is unbearable. The audience and Melanie, will soon know that this act of heroism was a mistake. In The Birds and Psycho, “each item mentioned here plays an integral part in the plot of each film and the way he filmed them ensured that each is recognizable to the audience later in the story”.[4]   Alfred Hitchcock - the innovator he was - coined the term ‘MacGuffin’.  The MacGuffin “[refers] to an item, event, or piece of knowledge that the characters in a film consider extremely important, but which the audience either doesn’t know of or doesn’t care about”.[5] In Psycho, when Marion Crane is planning to leave town, Hitchcock uses close-ups to highlight the important objects in the room such as the money. The money close ups, along with Janet Leighs expressive acting, hints to Marion’s thought process of whether she should steal the money or not. This close up can be taken as a point-of-view shot from Marion’s perspective to convey her infatuation with the stolen cash. This, to her belief, is a ticket to a better life. Due to the importance the money has, it would be considered the MacGuffin. Hitchcock intended that some of the objects importance was not to be revealed immediately but rather, exposed later on in the film. For example, the stolen money in Marion’s possession progresses the narrative when the highway parole officer asks for her registration and even when she folds it up in the newspaper at the Bates motel.

Hitchcock’s art of cinematography could not be as spectacular as it was without the use of sound to compliment it. The “Psycho screenplay suggests that Hitchcock was anticipating and experimenting at minimizing music, an attempt that was eventually to culminate in the Birds, which had no conventional musical score at all”.[6] When Bernard Herrmann, the composer hired to score Psycho, cleverly scored “shrieking violins tearing at Janet Leigh’s vulnerable torso, along with Anthony Perkins’ knife, [Hitchcock] gave his nod of approval”.[7] The same high pitched cry cultivated from the stringed instrument during the ‘shower scene’ is analogous to the aggressive bird shrieks signaling their incoming attack. Their abrasive caws coalescing with their barrage upon the townspeople made a frightening effect. Hitchcock’s utilization of isolated sound - rather than music - seemed to be the key to make a notorious thriller. The lack of sound in Hitchcock’s films speaks volumes as well. In The Birds, silence fills the Brenner house whilst fear, anxiety and anticipation brew inside Mitch, Melanie, Lydia and Cathy because they all know what horror is to come. “The influence of silent movies remains strong in Hitchcock’s films, which are characterised by sparse dialogue and long stretches where the narration proceeds purely through visual images”.[8] For example, “in Psycho, there is a 17-minute sequence without dialogue”⁸ where the audience witnesses Norman hiding the evidence of Marion’s murder. “Hitchcock has to rely on cinematic techniques to advance the story and hold our attention”⁸ since dialogue is non-existent.

In conclusion, Hitchcock was more than just your average director. ‘Hitchcock’ is still a popular household name to this day. People honour Hitchcock’s recurring themes and formal elements as they are autonomous to his film legacy. His technical competence of the mise-en-scene allowed him to interpret the formal elements in ways done by no other. This resulted in creating his own personal style that even director’s today attempt to recreate - such as Gus Van Sant. Every shot, image and scene was carefully crafted to fashion a visual masterpiece. His work in Psycho and The Birds is concrete evidence of his originality in film making. To say that Hitchcock just made a couple good horror movies is absurd. It was his cinematography, the sound-track and his use of metaphorical meanings that gave him that distinctive quality and put him a cut above the rest. Consequently, Alfred Hitchcock is well-deserving of the title ‘auteur du cinema’.

  

Bibliography

Aurora, “The Hitchcock Signature”, Once upon a screen. (2012), accessed March 12, 2016.

http://aurorasginjoint.com/

Fordham, Geoff. “Hitchcock’s place in film theory: a significant auteur or director of insignificant

pictures?”. Crimeculture, accessed March 12, 2016. http://www.crimeculture.com/

“Hitchcock Film Analysis: Vertigo, Psycho and The Birds”. El cine signo. (2011), accessed March 12, 2016.

elcinesigno.wordpress.com

Sanchez, Jose. Introduction to Film Studies Readings. Canada: Pearson Canada, 2015, 2007, 2006).

Sanchez, Jose. Introduction to Film Studies Readings. Canada: Pearson Canada, 2015, 2007, 2006).

Grongarrd, Peder. “Hitchcock’s Cinematic Style,” P.O.V. No. 4.(1997), accessed March 12, 2016.

http://pov.imv.au.dk/

Sound in Psycho”. FilmSound.org, accessed March 12, 2016. http://filmsound.org/

Vertlieb, Steve. “The Torn Curtain”. Herrmann and Hitchcock. (2002), accessed March 12, 2016.

http://www.bernardherrmann.org/

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[1] Jose Sanchez, Introduction to Film Studies Readings (Canada: Pearson Canada, 2015, 2007, 2006), 105.

[2] Jose Sanchez, Introduction to Film Studies Readings (Canada: Pearson Canada, 2015, 2007, 2006), 104.
[3] Peder Grongarrd, “Hitchcock’s Cinematic Style,” P.O.V. No. 4.(1997), accessed March 12, 2016. http://pov.imv.au.dk/
[4] Aurora, “The Hitchcock Signature”, Once upon a screen. (2012), accessed March 12, 2016. http://aurorasginjoint.com/
[5] “Hitchcock Film Analysis: Vertigo, Psycho and The Birds”. El cine signo. (2011), accessed March 12, 2016. elcinesigno.wordpress.com

[6] “Sound in Psycho”. FilmSound.org, accessed March 12, 2016. http://filmsound.org/
[7] Steve Vertlieb, “The Torn Curtain”. Herrmann and Hitchcock. (2002), accessed March 12, 2016. http://www.bernardherrmann.org/
[8] Geoff Fordham, “Hitchcock’s place in film theory: a significant auteur or director of insignificant pictures?”. Crimeculture, accessed March 12, 2016. http://www.crimeculture.com/

Sample Questions' Answers on Horror Movies: Slasher

1.     Which of the following apply to the movie You’re Next? (Choose more than one if applies)

a)     Females are objectified.

b)     Males are objectified.

c)     Monsters are objectified.

d) Objects are objectified

2. The minefield of the contemporary horror film, with its bloody display of the all-too-often female body in bits and pieces, is fraught with danger for women.

3. In studies of horror film the female viewer is accused of masochism.

4. According to PowerPoint file for this week (Gendered Horror), what is the first Slasher sub-genre movie?

5. Female spectatorship of horror is a much neglected and misunderstood topic.

6. What can be a proof for horror film being a pleasure for men?

a)     Men feel sympathy with victims in the horror film.

b)     Little boys and grown men make it a point of horror to look, while little girls and grown women cover their eyes or hide behind the shoulders of their dates.

c)     Women feel satisfied when watching a horror film.

d)     Men hold their girlfriends’, sisters’, or mothers’ when watching a horror film, while women feel sorry for the monsters.

7. Carol Clover advances the idea that the primary pleasure for male viewers of the genre is a masochistic rather than a sadistic one.

8. The female spectator is truly deprived of ‘solace and pleasure.

9. Barbara Creed, who turns her attention to female monstrosity, maintains that the monstrous- feminine in the horror film speaks to men about their fear of women.

10. The feminist movement, founded on the imperative that women must be free to control their own bodies, has repeatedly drawn attention to the issue of violence against women.