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	Slasher film - Wikipedia, the free encyclopedia
		The slasher film is a sub-genre of horror film typically involving a masked, psychotic killer who stalks and graphically murders a series of victims in a random, unprovoked fashion, usually teenagers or young adults who are away from adult supervision and involved in illicit activities (e.g., sex, drug use, and the like).
		It is reasonable to define Alfred Hitchcock's Psycho as the mother of all slasher films.
		The three films most often charged with igniting the slasher film "craze" of the 1980s are John Carpenter's Halloween (1978), Sean S. Cunningham's Friday the 13th (1980) and Wes Craven's A Nightmare on Elm Street (1984), all of which spawned numerous sequels and countless imitators that endlessly recycled their predecessors' character archetypes and plot.
	en.wikipedia.org /wiki/Slasher_movie (1200 words)

	Scope: An Online Journal of Film Studies (Site not responding. Last check: 2007-11-02)
		Defining the slasher genre is difficult: a number of film scholars have approached the subject, each with their own agendas, and what is included within such studies, or more importantly what is excluded from consideration, says more about the scholars' own schemata than anything inherent in the films themselves (Bordwell, 1989: 169-204).
		These slasher films are, in reality, gory murder mysteries (see Appendix Three), where the "game" for the audience is to attempt a hypothesis as to whom the killer may be out of a set group of people.
		The slasher films that I do want to consider here are those films in which the killer is known from the outset to both the filmic victims and to the audience, films where the killer, when met, is always the killer.
	www.nottingham.ac.uk /film/journal/articles/tale-of-terror.htm (9556 words)

	Final Girls and Terrible Youth: Transgression in 1980s Slasher Horror Journal of Popular Film and Television - Find ... (Site not responding. Last check: 2007-11-02)
		These slasher films, although "beyond the purview of the respectable (middle-aged, middleclass) audience" (Clover 21), have importance as cultural texts, both because of their immense and enduring popularity with adolescents, and because of their firmly entrenched status as "outsider" cinema, apart from more accepted forms of film and their more acceptable mainstream messages.
		Female viewership of slashers is therefore considered problematic: Isabel Cristina Pinedo, in her discussion of female horror film viewing, details how for "the female viewer accused of masochism or the female fan labeled an apologist for a womanhating genre, there is no room for pleasure" (69).
		She is the undisputed main character, both because of increased character development afforded to her throughout the film and because of her early discovery of the killer, evident to the viewing audience from the beginning of the film.
	www.findarticles.com /p/articles/mi_m0412/is_2_29/ai_77609481 (973 words)

	GreenCine \| Slashers (Site not responding. Last check: 2007-11-02)
		The granddaddy of the Slasher flick is arguably Alfred Hitchcock's Psycho (1960).
		And that isn't meant to neglect the influence of its contemporary, fake snuff films, but those were decidedly not mainstream enough to take credit for launching a genre that split the modern horror movement in two.
		She is a programmer of the Lost Film Fest, an event focusing on pranks against corporations and government institutions.
	www.greencine.com /static/primers/slashers.jsp (2336 words)

	Isolation and Subjugation: The Telephone in the Slasher Film (Site not responding. Last check: 2007-11-02)
		Towards the end of the film the two survivors, discovering that something is not right at the camp (all their friends seem to have disappeared!) rush to an office to call the police only to find the killer has cut the phone line.
		They are familiar with the slasher film rules: “don't answer the door, don't leave the house, don't answer the phone” (20).Yet, somehow, they still end up falling victim to the conventions because the violence of the horror movies they watch is so prevalent and dramatised that they have grown desensitised to it.
		We have seen that the telephone functions in the slasher film as a means of both isolation and subjugation, and that with the development of new information technologies the modern slasher film has tended to focus more on the latter.
	www.sensesofcinema.com /contents/04/32/telephone_slasher_film.html (5463 words)

	notcoming.com \| A Selective History of the Slasher Film
		The latter preyed on the popular trends of the slasher film genre that went unacknowledged in the entirety of its duration.
		The final and least laudable trait of the slasher film is its propensity to generate sequels (for measure, the five films mentioned in this article have spawned a combined 18 sequels).
		Slasher films, however derivative and thematically impotent, are generated from a handful of critical successes.
	www.notcoming.com /features.php?id=24 (805 words)

	Halloween (1978)
		Throughout the manipulative, morbid film, the suspenseful stalkings and killings are seen from the subjective vantage point of the killer's or 'peeping tom's' eyes, a few times while looking through a mask.
		The film set in motion the Puritanical, psycho-pathological principle that one's survival was directly proportional to one's sexual experience.
		When the film was aired in 1981 on commercial network television (available in a 1999 re-release DVD version), Carpenter was obliged to shoot about 12 minutes of additional footage to replace the gory and violent scenes, due to the numerous cuts made.
	www.filmsite.org /hall.html (2362 words)

	IGN: The Horror Geek Speaks: Slashermania
		Still, the giallo had a profound impact on early American slasher cinema – and while the two are different forms (at least slightly different), I'm considering gialli as slasher films for this list.
		The film itself features some great gore (including the infamous Tom Savini created 'shotgun blast to the head' scene, which, to this day, is still the best of its kind) and an incredible sequence where Spinnell stalks a young nurse through a deserted subway station.
		Truthfully, this is the watershed slasher film – the one that improved upon all the formulaic films that had come before it and set the tone for what was to come and if all that weren't cool enough for ya, John Saxon is in this film, too.
	filmforce.ign.com /articles/370/370402p1.html (1384 words)

	Political Film Society - Hellbent (Site not responding. Last check: 2007-11-02)
		HellBent, directed and written by thirty-seven-year-old Paul Etheridge-Ouzts, is strangely billed as the "first all-gay slasher film." Although Hard (1999), an earlier film in the genre, carries a message (indeed, an exposé about the homophobic LAPD), HellBent offers only the narcissism of Caucasian men in their early twenties with fantastic bodies.
		Although the motive of the anonymous serial killer is not revealed, the speculation in the dialog is gerontophobic--that a man in his forties has recently discovered that he is gay, cannot attract those in their twenties, and reacts by murdering those whom he envies.
		Filmviewers might infer that the slasher is one of the recent immigrants from the former Soviet Union whose numbers are increasing in West Hollywood; such a person, old enough to have an impressionable son, may perhaps be shocked by daily life within a community where gays are hardly closeted.
	www.geocities.com /polfilms/hellbent.html (672 words)

	The Film Journal...Passionate and informed film criticism from an auteurist perspective.
		The film seeks to shock its audience specifically by challenging reinforced stereotypical and gender biased ideals within the context of the teenage slasher genre.
		The film Battle Royale seeks to shock the audience by presenting contrasting images of, on the one hand, Japanese teenagers killing each other, while on the other, groups of teenagers attempting to maintain some sort of social structure within the forced anarchy that they are now experiencing.
		In the later parts of the film Noriko is even portrayed as a deity by Kitano, featuring in a painting with a halo surrounding her head while her fellow peers lie dead beside her.
	www.thefilmjournal.com /issue7/battleroyale.html (2261 words)

	FilmJerk.com - Reviews - Going to Pieces: The Rise and Fall of the Slasher Film
		Considered to be the thinking man’s thriller, Kubrick molds this very particularly “Stephan King” material into the portfolio of his films about human failure, as the hero’s desperate desire to become somebody ends in frustration and tragedy.
		While it fails as a true overview of slasher films, the documentary “Going to Pieces” wins points by spending some time focusing on the lesser offerings of the genre.
		Slasher films have ridden a looping, twisting roller coaster of notoriety over the last 30 years.
	www.filmjerk.com /reviews/article.php?id_rev=945 (878 words)

	Freshman English at UGA
		This correlation was demonstrated in the glut of so-called "slasher" films during the period 1974-1984.
		Although not as necessary to the slasher film as the Virgin or the Slasher, the Doomsayer is another elementary archetype within the sub-genre.
		Evil, like the Slasher, appears to be an inhuman, external force that is constantly endeavoring to bring ruin to the righteous works of man. Essentially, the relationship between the Virgin and the Slasher is identical in the eyes of society to the relationship between man and evil, with right always triumphant in the end.
	virtual.park.uga.edu /freshcomp/engl1101-98-99.html (1221 words)

	Slasher Films!
		Slasher films are like Rodney Dangerfield -- they get no respect.
		In the introduction, he gives the reader a taste of his history with slasher films -- a reminiscence with which anyone (particularly males, I must presume) who attained adolescence during the rise of video will immediately identify.
		Though it is true that the rise and fall of the slasher took place over the 1978-1986 period, Rockoff brings the reader up to date with releases from the new century.
	www.greenmanreview.com /book/book_rockoff_armstrong_slasherfilms.html (555 words)

	Cinephiles Discussion Forums: Slasher Films and cinema violence (Site not responding. Last check: 2007-11-02)
		Films were given the term "slasher" because they were films that put you in the killer's head, giving you a "killer's-eye" view of the action.
		The film may be aimed at the same audience as the others by the producers, but overall they are completely different in nature.
		But 98 % of slasher films are for the sake of slash, Psycho was not, it was deep psychological suspense thriller, with a sick sense of humor, it is art.
	www.cinephiles.net /discuss/messages/1/2714.html?1114313590 (2537 words)

	Roger Corman helps a first time feature-film director and producer make their own "slasher" film., 6/01
		But the simple fact is, it's a slasher film, with the money (under a million dollars of it) coming from the king of low budget slasher films himself, Roger Corman.
		On hand throughout the entire film process are a number of apprentices -- people who are paid a small fee to learn first-hand what it means to be a director, cinematographer, editor, or any other position they choose.
		A first time feature film producer, she is feeling the effects of the constant strain of time and money.
	www.newenglandfilm.com /news/archives/01june/corman.htm (873 words)

	Craig's Book Club reviews Books on Slasher Films (Adam Rockoff's Going to Pieces and Kent Byron Armstrong's Slasher ... (Site not responding. Last check: 2007-11-02)
		His Going to Pieces: The Rise and Fall of the Slasher Film, 1978-1986 is likely the first truly in depth exploration of the history, influences, and subtext of the genre.
		He approaches his subject chronologically, interlacing films of the same period in order to give a sense of history, and even the most wretched and obscure films (Don't Go in the Woods, for example) are touched upon.
		Some omissions are questionable (although the absence of the Nightmare on Elm Street series is explained), but his introduction invites readers to send him suggestions for the next edition.
	www.geocities.com /craigsbookclub/slasherfilms.html (613 words)

	Questions from Altman “A Semantic/Syntactic Approach to Film Genre”
		The zombie film = film where people are chased and then eaten by other people (usually rotting corpses brought back to life).
		Here the same films are mentioned again and again, not only because they are well known or particularly well made, but because they somehow seem to represent the genre more fully and faithfully than other apparently more tangential films” (681).
		Thus, from an ideological approach, Altman might argue that the slasher film is made by Hollywood in order to convince viewers that premarital sex is bad and will result in premature death by slashing.
	www.colorado.edu /FilmStudies/FILM4004/Spring2005/Horror.htm (812 words)

	Geoffrey Wright's Cherry Falls (Part 1 of 2) (Site not responding. Last check: 2007-11-02)
		While skimming through some of the user comments for the slasher film Cherry Falls, I noticed that one author had made the observation that the film was ‘Scream meets American Pie--an observation that works pretty well, at least in the most rudimentary sense.
		Yes, Cherry Falls is a film that attempts to cross the postmodernist slasher film (and all of the hip baggage that comes with it) with teen cinema’s newest craze, the teen sex flick.
		Unfortunately, the film never manages to live up to either of its inspirations—and the end result is a film that shows a fair deal of promise but is lacking overall.
	www.suite101.com /article.cfm/5196/76688 (370 words)

	Friday the 13th: Film Theory Essays
		The impact of the Friday the 13th films on film theory can be seen throughout multiple scholarly (and not-so-scholarly) texts.
		Carol Clover argues, however, that these films work mainly to engage the viewer in the plight of the victim-hero - the figure, often a female, who suffers pain and fright but eventually rises to vanquish the forces of oppression.
		She challenges the conventional wisdom that violent horror films can only degrade women and incite violence, and contends instead that the contemporary horror film speaks to the cultural need to express rage and terror in the midst of social upheaval.
	www.fridaythe13thfilms.com /disc/essays.html (836 words)

	Halloween - A Movie Vault Review (Site not responding. Last check: 2007-11-02)
		Way back in the seventies, before the teen horror films, John Carpenter set out to make a scary film, that would indefinitely withstand the test of time, and become the template for nearly all horror movies in the decades to follow.
		After the film's release, hordes of copycat slasher films were slapped together; the genre would never be the same again.
		Everything from the very entertaining film "The Stepfather" to the recent release with Talia Shire called "The Landlady", the seemingly harmless neighbor story is everywhere.
	www.deadrabbit.org /movievault/halloweenreview.htm (694 words)

	Carfax Abbey Horror Films and Movies - Night of the Living Dead
		The most chilling aspects of this film are its depictions of the randomness of the attacks and the imposing despair felt by its characters.
		They were not wearing skimpy clothing, they were not having sex, they were not in the shower, they didn’t run into the woods and fall down, they weren’t playing at occult rituals, the fact is, they did everything right, and died anyway.
		This means you or me. This film covers the first night of the Zombie Apocalypse and centers on just a few characters, giving it a very realistic tone (one has no idea what's going on anywhere else except for TV and radio reports).
	www.carfax-abbey.com /TitleSearchResults.cfm?TitleVar=33 (972 words)

	FOXNews.com - The Slasher Film Returns, Again - Celebrity Gossip \| Entertainment News \| Arts And Entertainment
		Cunningham, who also produced the original "Friday the 13th," sees slasher films as a presentation of timeless fairy tales that deal with fears of untimely death.
		James Cross, a 26-year-old slasher buff from Chicago, said he is excited to see slasher films return to the big screen.
		Robert Butterworth, a psychologist with a specialty in media and its psychological effects, said the return of slasher films may be linked to a psychological need for reassurance in an uncertain world.
	www.foxnews.com /story/0,2933,93471,00.html (1022 words)

	UPDATED: \'The Rise and Fall of the Slasher Film\' - BLOODY-DISGUSTING.COM
		As both an expert and an ardent fan of slasher films, Scalese brought the project to Belofsky, who also produced the award-winning women in racing documentary FAST WOMEN that was licensed to Women’s Entertainment (WE).
		It’s a real testament to the significance of these films.” “Scalese adds, "To look at the body of the work of the Slasher films is a reminder of a tiny group of films that became the little engine that could and left a significant imprint on the history of American cinema".
		The film is expected to be complete in 2006, with plans for a late summer release.
	www.bloody-disgusting.com /news/5202 (932 words)

	http://xft001/metz/jaws.htm
		The film articulates traditional Hollywood "liberal" values, by presenting governmental representatives, purportedly serving in the public interest, who are easily bought off by the business community, who only serve in the interest of profit.
		Yet, the film backs away from a radical critique of this corrupt government-business relationship, revealing that not all public officials are corrupt.
		We are made to identify with Chief Brody throughout the film, so that when the mother of the dead boy slaps him, we know that he has been wronged by her.
	www.montana.edu /metz/website/filmamer/jaws.htm (1609 words)

	Starz Entertainment Group :: Starz Entertainment Group and THINKFilm Team on Slasher Film Documentary
		The film is directed by Emmy(R)-nominee Jeff McQueen and based on the book of the same title by Adam Rockoff.
		It's a real testament to the significance of these films." Scalese adds, "To look at the body of the work of the Slasher films is a reminder of what began as a tiny group of films that became the little engine that could and left a significant imprint on the history of American cinema."
		Recent films include Academy Award(R) Winner "Born Into Brothels," 2005 Sundance Audience Award Winner "Murderball," and the envelope-pushing "The Aristocrats." THINKFilm can be found online at http://www.thinkfilmcompany.com/.
	sev.prnewswire.com /entertainment/20051109/LAW08609112005-1.html (641 words)

	iFMagazine.com Reviews - Movie Review: HELLBENT
		The script is well-written enough with twists and turns that are to be expected in this type of film, and while the killer’s choice of weapons and masks is somewhat unique; his method of taking heads as trophies is only so-so on the shock scale of slasher movies.
		The police in the film are also unbelievably sloppy in their investigation of the first murders, and subsequent lock-down of the crime scene.
		HELLBENT was a well-made refreshingly new slasher film.
	www.ifmagazine.com /review.asp?article=1034 (649 words)

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