The Scream Trilogy, "Hyperpostmodernism," and the Late-Nineties Teen Slasher Film
2005; University of Illinois Press; Volume: 57; Issue: 3 Linguagem: Inglês
ISSN
1934-6018
Autores Tópico(s)Themes in Literature Analysis
ResumoIN GENERICITY IN THE NINETIES: ECLECTIC IRONY AND THE NEW SINCERITY, published in 1993, Jim Collins examined a number of popular genre films released in early 1990s,1 remarking that what we have seen of postmodernism thus far is really a first phase, perhaps Early Postmodernism, first tentative attempts at envisioning impact of new technologies of mass communication and information processing on structure of narrative (262). In December 1996, Dimension Films released Scream, a slasher film that went on to resurrect and redfine that dormant genre for a new generation of teenagers. The Scream trilogy (Scream 2 [1997], Scream 3 [2000]) also marks a later phase of postmodernism than early postmodernism highlighted Collins. I have labeled this more advanced form of postmodernism hyperpostmodernism, and in Scream trilogy can be identified in two ways: (i) a heightened degree of intertextual referencing and self-reflexivity that ceases to function at traditional level of tongue-in-cheek subtext, and emerges instead as actual text of films; and (2) a propensity for ignoring filmspecific boundaries actively referencing, borrowing, and influencing styles and formats of other media forms, including television and music videos-strategies that have further blurred boundaries that once separated discrete media. The Slasher Film: Emergence and Evolution The teen-oriented slasher film came into its own in 19705, with release of The Texas Chainsaw Massacre (1974) and Halloween (1978), and became one of most popular horror subgenres in decade that followed (Clover 24; Ryan and Kellner 191; Tudor 68-72). It was in 19805 that familiar conventions of teen slasher film were established. These conventions include: a group of young, often teenage, characters as potential victims; imperiled, sexually attractive young women being stalked a knife-wielding, virtually indestructible, psychotic serial killer; and scenes of unexpected and shocking violence and brutality. Teen slasher films also originated trend toward spin-offs, sequels, and imitators, sparking a rash of successful slasher film franchises.2 With release of each installment in series, conventions of genre were repeated and consolidated. The growing popularity of these films was in fact tied to increasing familiarity of these conventions. As Andrew Britton argues, film audiences were drawn to very predictability of plots, so that the only occasion for disappointment would have been a modulation of formula, not a repetition of it (qtd. in Clover 9). The genre was especially popular with teenage boys. In examining audience for slasher films of 19705 and early 19805, Carol Clover notes that the majority audience, perhaps even more than audience for horror in general, was largely young and largely male. . . . Young males are also . . . slasher film's implied audience, object of its address (23). The films' obsession with torture and often brutal killing of nubile young women appeared to be a particular draw for this audience. By mid-1980s, however, slasher film appeared to reach a point of exhaustion. The formulaic nature of subsequent low-budget, independently produced slashers, and excessive repetitions in form of sequels, remakes, and imitations, inevitably made audience overly familiar with genre, so that by end of decade form was largely drained (Clover 23). Consequently, many of films released in late 19805 were final installments of franchises that had been popular in previous decade, and a large number of these were straight-to-video releases.3 By late 1980s, appeared that cycle of teen-oriented slasher films had played itself out. Despite impending demise of that cycle, a number of these later films did begin displaying characteristics, such as a tendency to blend humor and horror, and self-reflexive winks at audience, that would eventually find significant representation in resurgent slasher cycle of late 19905. …
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