Gays, Women, and Chainsaws: Queer Approaches to Characteristion and Identification in Contemporary Slasher Cinema, 1996-2018

这篇拟议的论文考察了女性和男同性恋者如何被邀请以类似的方式观看当代斯莱特电影，根据他们的文化经历认同人物和叙事。这表明，观众身份并不一定像电影理论假设的那样，由性别和性别认同决定。相反，观众身份受到异族宗法话语的影响，这种话语支配着女性和男同性恋者的文化经验。对卡罗尔·克洛弗(1992)关于Slasher异性恋凝视的开创性工作的批评延伸了后来对女性观众及其身份认同的女权主义批评(Pindeo，1997；Miller，2014)。这种女权主义批评将通过检验其与分析男同性恋受众的在线博客文章的副学术研究的相关性而得到扩展(Liaguno，2008；Bingham-Scales，2017)。随后，论文建立了一个概念框架，通过女权主义和酷儿理论，从方法论上加强了对杀戮电影的批评，展示了男同性恋观众对女性角色的认同。这通过概念化同性恋男性观众如何在没有同性恋代表的情况下认同屏幕形象，为刻画和认同提供了一个创新的视角。这一概念框架将通过一项在线接受研究和自我人种学描述来证明，并定位于文本分析中的理论。

The proposed thesis examines how women and gay men are invited to watch contemporary slasher cinema in similar ways, identifying with characters and narratives in accordance to their cultural experiences. This suggests that spectatorship is not necessarily determined by gendered and sexual identity, as film theory assumes. Rather, spectatorship is influenced by the heteropatriarchal discourse that dictates the cultural experiences of women and gay men.Critiquing the seminal work of Carol Clover (1992) regarding slasher's heteronormative gaze extends later feminist criticism on female audiences and their identifications (Pindeo, 1997; Miller, 2014). This feminist criticism will be extended by examining its relevance to the parascholarship of online blog posts that analyse gay male audiences (Liaguno, 2008; Bingham-Scales, 2017). Subsequently, the thesis develops a conceptual framework that methodologically enhances the criticism of slasher cinema via feminist and queer theory, demonstrating how gay male audiences might identify with female characters. This offers an innovative perspective on characterisation and identification by conceptualising how gay male audiences might identify with screen images when gay representation is absent. This conceptual framework will be evidenced with an online reception study and autoethnographic account, situating the theorisations made in textual analyses.