The subgenre of the slasher is the most profitable within the horror world; perhaps the simplicity of sex, violence, and blatant stupidity provides an easy watch for people to enjoy. In order to achieve this, there are a set of rules that every classic slasher flick should follow, as Scream (1996) would have us suggest. There should be a deranged (often masked), weapon wielding psycho, chasing a group of morally like-minded teenagers, killing them off one by one. This happens constantly until only one is left (likely the ‘final girl’). The role of the surviving girl carries with it its own stereotypes; as Laurie in Halloween (1978) embodies, the ‘final girl’ undergoes a level of desexualisation, never partaking in drinking, smoking or sexual activities, unlike everyone that eventually dies. The role is, therefore, granted to the girl who remains the most moral and androgynous.
Scream catalysed this change, introducing audiences to a smart and self aware group of teenagers
Whilst the ‘golden age’ of slashers existed throughout 1970-1990, the campy, sexist final girl trope soon changed within an ever-changing political and cultural climate, as those who survived switched from a state of vulnerability to a strong and resourceful match from the violent character she faces. Arguably Scream catalysed this change, introducing audiences to a smart and self aware group of teenagers, with many characters such as Randy, using the classic slasher rules in order to eventually survive the killer. Sydney embodies the role of the ‘final girl’, despite having sex, and partaking in partying, something that turned the genre on its head. Despite this, Sydney is targeted as a result of her mother’s sexual promiscuity that led to her eventual downfall.
Many films have since focused on this change, switching how we look at the slasher genre from an audience perspective. Take Cabin in the Woods (2012), a flick that mocks the categorical tropes of slashers, with each character embodying an extremely stereotypical trait (including the athlete, the virgin and the fool). In this world, if the teens don’t die in their specified order, then the world is set to implode; this ends up happening as a result of their awareness and their unwillingness to sacrifice themselves. Jennifer’s Body (2009) also rewrites the classic subgenre, as the role of Jennifer embodies the villain but also the ‘final girl’ of sorts, becoming an instant feminist cult classic as she chooses to kill only men regardless of their sexual status. She partially survives the film due to her status as someone who doesn’t have her virginity, completely doing a 180 in terms of the slasher rules.
Despite stereotypical nuances, most of the fun of a slasher film is the fact that almost everyone dies. It is almost comforting to know it isn’t happening to you; but is one woman’s survival worth the loss of so many others? I don’t think so. But as the role of the ‘final girl’ develops from morally focused luck, to the sheer will to live, it is interesting to see how one goes about her position as someone who is almost guaranteed a gruesome death, giving us a main character to ultimately root for against the monsters that are put before her.
