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“Both Creed and Clover present very troubling conclusions about gender construction and anxieties in the horror film genre. It seems as though the feminine is meant to take on the roles of either the monster or the helpless victim. Even when a biologically female character acts as the Final Girl, as I have previously mentioned, she is gender coded as male and regarded as masculine by the end of the film. Perhaps the reason for such a slant towards masculinity lies in the possibility that this is simply an entrenched mindset for both filmmakers and spectators. After all, it is also worth noting that most horror films have male directors.
Thankfully, there have been efforts to subvert this traditional expectation of gender roles in the genre. Wes Craven’s Scream is an example of a slasher film that also seems to follow the rules laid out by Clover’s theory. Sidney becomes significantly more ‘masculine’ as she eventually takes on a hunter-like role when she attacks the male killers. However, the Scream franchise differs from other films of its ilk because of how we always have the same Final Girl in each entry.
What sets the Scream franchise apart from classic slasher films isn’t just its self-aware, tongue-in-cheek humor in all of its entries, but its willingness to actively empower the Final Girl and drive home the message that the movie’s heroine is here to stay. Of course, Scream isn’t perfect, and there are still shortfalls that undermine the film’s intention to empower femininity. For instance, our main heroine is named Sidney, a gender ambiguous name, and it is highly likely that she was named thusly so as to reduce the sense of displacement and discomfort of the male audience when they identify with her.”