"Women need to see themselves fighting monsters. That’s part of how we figure out our stories. But we also need to see ourselves behind-the-scenes, creating and writing and directing. We need to tell our stories, too.” ― Mallory O'Meara, The Lady from the Black Lagoon: Hollywood Monsters and the Lost Legacy of Milicent Patrick
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Horror movies have long captivated audiences with suspenseful narratives and layered themes, with the "Final Girl" trope standing out as a central phenomenon. Coined by Carol J. Clover in Men, Women, and Chain Saws: Gender in the Modern Horror Film, the "Final Girl" represents the last female survivor in horror, confronting the antagonist and emerging victorious (Clover, 1992). Historically, the Final Girl has symbolized female empowerment; however, the lack of intersectional representation within horror limits the visibility of diverse resilience and survival experiences, particularly among BIPOC (Black, Indigenous, and People of Color) audiences (Coleman, 2011).
Origins of the Final Girl in Horror Movies
The Final Girl archetype, popularized in classic horror films of the 1970s and 1980s such as Halloween (1978) and A Nightmare on Elm Street (1984), embodies traits like virtue, resourcefulness, and resilience (Clover, 1992). These early portrayals primarily featured white female characters, reinforcing narrow survival narratives that often sidelined BIPOC characters and audiences (Guerrero, 1993). Consequently, these films contributed to a white-centric definition of heroism, restricting the horror genre’s potential to explore diverse forms of strength and resilience (Benshoff, 1997).
Characteristics of the Final Girl
The Final Girl archetype is distinguished by intelligence, strength, and adaptability. However, the portrayal often fails to acknowledge how race and gender intersect to shape survival, resilience, and horror-specific trauma (Smith, 2016). Although she challenges traditional femininity by showcasing bravery and agency, the framing tends to disregard culturally specific experiences of survival, particularly within BIPOC communities (Crenshaw, 1991). These nuanced perspectives remain largely unexamined within mainstream horror films, where intersectional Final Girls are rare.
Evolution of the Final Girl: Inclusive Horror Movie Tropes
While the Final Girl has evolved to reflect more multidimensional characters, the representation of BIPOC women remains scarce. Films like Get Out (2017) and Us (2019), directed by Jordan Peele, offer critical subversions by centering BIPOC protagonists who reflect culturally specific struggles with systemic violence and exclusion (Peele, 2017; 2019). Peele’s horror films thereby create space for intersectional Final Girls, acknowledging how fear is shaped by lived experiences of racism, sexism, and social marginalization (Jackson, 2019).
Critique and Subversion of Horror Movie Tropes
Though it has empowered female representation, the Final Girl trope has limitations. Critics argue it can reinforce patriarchal structures by implying that women must display "masculine" traits to survive (Clover, 1992). Further, by often excluding the unique experiences of BIPOC characters, horror films can reinforce stereotypes and binary gender norms while erasing the lived dynamics of race and gender (Young, 2018). Limited representation suggests that the horror genre’s evolving portrayal of the Final Girl must broaden to include diverse backgrounds, fostering horror as a medium for intersectional storytelling (Dyer, 1997).
The Future of Final Girls in Modern Horror Cinema
As cinema shifts, the Final Girl’s representation is diversifying, recognizing the importance of intersectional and BIPOC storytelling. Centering BIPOC protagonists in survival narratives expands the Final Girl trope, making her a symbol of resilience across identities and experiences. An inclusive Final Girl narrative can empower broader audiences by reflecting authentic experiences and breaking stereotypes. This trend aligns with popular demand for diverse representation and more complex narratives in horror, offering audiences culturally resonant stories that challenge genre conventions (Gates, 2020).
Conclusion
The Final Girl trope has transformed from a symbol of female empowerment into a vehicle for exploring resilience and diversity within horror cinema. Although it has faced critique for limiting portrayals of race and gender, the trope’s evolution suggests a move towards inclusive and authentic storytelling. With the continued exploration of intersectionality in horror, the legacy of the Final Girl can adapt to resonate across communities, allowing horror to explore fear, identity, and empowerment in more expansive ways.
References
Benshoff, H. M. (1997). Monsters in the Closet: Homosexuality and the Horror Film. Manchester University Press.
Clover, C. J. (1992). Men, Women, and Chain Saws: Gender in the Modern Horror Film. Princeton University Press.
Coleman, R. (2011). Horror Noire: Blacks in American Horror Films from the 1890s to Present. Routledge.
Crenshaw, K. (1991). "Mapping the Margins: Intersectionality, Identity Politics, and Violence Against Women of Color." Stanford Law Review, 43(6), 1241-1299.
Dyer, R. (1997). White: Essays on Race and Culture. Routledge.
Gates, P. (2020). The Horror Genre in American Cinema. Routledge.
Guerrero, E. (1993). Framing Blackness: The African American Image in Film. Temple University Press.
Jackson, A. (2019). "Horror’s Complex New Female Heroes." Journal of Popular Film and Television, 47(3), 173-183.
Peele, J. (Director). (2017). Get Out [Film]. Blumhouse Productions.
Peele, J. (Director). (2019). Us [Film]. Monkeypaw Productions.
Smith, A. (2016). "Representation of Black Women in American Horror." Cultural Studies Review, 22(4), 24-38.
Young, D. (2018). "The Intersectional Final Girl: A Critical Look at BIPOC Representation in Horror." Studies in Media and Communication, 6(3), 210-225.
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