Publication:
Subverting the genre: The evolution of the final girl in the halloween franchise

dc.contributor.authorArıhan, Ece
dc.contributor.institutionArıhan, Ece, Communication Design Department, Bahçeşehir Üniversitesi, Istanbul, Turkey
dc.date.accessioned2025-10-05T14:46:15Z
dc.date.issued2024
dc.description.abstractThe Halloween films (1978-2022) constitute one of the most renowned and quintessential horror franchises. The first film of the franchise Halloween (Carpenter, 1978), influenced by Black Christmas (Clark, 1974) and Psycho (Hitchcock, 1960), is not only a worldwide critical and commercial success but also holds a prominent place in the horror subgenre slasher films. Halloween is followed by various sequels and remakes, which create different timelines and continuities within the franchise throughout its 44 years. That said, this chapter is focused on the first installment of the franchise, Carpenter's Halloween, and the Blumhouse Trilogy, including Halloween (Green, 2018), Halloween Kills (Green, 2021), and Halloween Ends (Green, 2022), which act as a sequel to the original film of 1978 and disregards all the other subsequent films. These four films are chosen in this study because they perfectly showcase the archetype of the Final Girl as well as the archetype's evolution from 1978 to 2022, demonstrated through the case study of the protagonist Laurie Strode played by Jamie Lee Curtis. The representation of the Final Girl has evolved from the first film, which portrays its heroine as a teenage babysitter, the victim of the serial killer Michael Myers, to the trilogy that demonstrates a determined matriarch intent on protecting her family, facing and killing her nemesis, who has become an equal of the villain Michael Myers and a contender, powerful enough to finally vanquish him for good. In order to investigate the evolution of the archetype and the transformation of gender representation, this chapter examines the eras in which the films were produced (the original film was released during the second-wave feminism and the trilogy was released within the fourth-wave feminism). Moreover, the iconography of the films is analyzed and compared to reveal the heroine's journey and showcase her transformation clearly by demonstrating how Laurie Strode became the equal and competitor of the pure evil, Michael Myers. © 2024 Elsevier B.V., All rights reserved.
dc.identifier.endpage140
dc.identifier.isbn9783631899052
dc.identifier.isbn9783631898581
dc.identifier.scopus2-s2.0-85201356395
dc.identifier.startpage129
dc.identifier.urihttps://hdl.handle.net/20.500.14719/7128
dc.language.isoen
dc.publisherPeter Lang Publishing Group
dc.subject.authorkeywordsFinal Girl
dc.subject.authorkeywordsGender Representation
dc.subject.authorkeywordsHalloween
dc.subject.authorkeywordsHeroine
dc.subject.authorkeywordsHorror
dc.titleSubverting the genre: The evolution of the final girl in the halloween franchise
dc.typeBook Chapter
dcterms.referencesHalloween of Horror an Episode in A Tv Series, (2015), Halloween Feature Length Movie, (1978), Halloween the Curse of Michael Myers Featurelength Movie, (1995), Black Christmas Feature Length Movie, (1974), A Nightmare on Elm Street, (1984), Clayton, Wickham, Style and form in the hollywood slasher film, pp. 1-254, (2015), Scream Feature Length Movie, (1996), Clover, Carol J., MEN, WOMEN, AND CHAIN SAWS: GENDER IN THE MODERN HORROR FILM, pp. 1-260, (2015), Clover, Carol J., Her Body, Himself: Gender in the Slasher Film, Representations, 20, pp. 187-228, (1987), Monstrous Feminine Film Feminism Psychoanalysis, (1993)
dspace.entity.typePublication
local.indexed.atScopus
person.identifier.scopus-author-id57468917300

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