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

本论文旨在探讨女性和男同性恋者如何被邀请以类似的方式观看当代恐怖片，并根据他们的文化经验认同角色和叙事。这表明，观众并不一定像电影理论所假设的那样，由性别和性别身份决定。相反，旁观行为受到支配女性和男同性恋文化体验的异性父权话语的影响。批评卡罗尔·三叶草（1992）关于杀戮者的异性规范凝视的开创性作品扩展了后来女性主义者对女性观众及其身份的批评（Pindeo，1997;米勒，2014）。这种女权主义批评将通过研究其与分析男同性恋受众的在线博客文章的相关性来扩展（Liaguno，2008; Bingham-Scales，2017）。随后，本文发展了一个概念框架，通过女权主义和酷儿理论在方法论上加强了对恐怖电影的批评，展示了男同性恋观众如何认同女性角色。这提供了一个创新的角度来描述和识别的概念化如何同性恋男性观众可能会认同屏幕图像时，同性恋代表缺席。这一概念框架将证明与在线接收研究和autoethnographic帐户，定位在文本分析的theorisations。

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.