satisfaction at seeing the destruction of bourgeois establishment, the film ultimately holds up this structure as the “right” one that was kind of unfairly punished by these outsiders • In TCM – the family unit and its inherent “goodness” is in question – notice how introducing class into the horror equation makes us re- think what the “normal family” is like in American cinema • The Omen and TCM have one thing in common – a sense of hopelessness (think of the opening sequence of TCM )
Texas Chainsaw Massacre and horror conventions (Robin Wood, p. 213-214) • The “Terrible House” – from the gothic convention, the house represents the past rushing into the present (out of work slaughterhouse workers, but also the contrast between “old” and “youth culture”). It also blurs the lines between work and private space – the house has become the slaughterhouse. Finally, noteworthy that Sally’s grandfather (the first house) used to send his cattle to Leatherface’s house • All- male family (grandma’s pretty useless) – further emphasizes class • Sexuality – notable lack , and it really becomes symbolic – leatherface with his phallic chainsaw, cannibalism as a symbolic act of devouring the other, the sexually liberated young people are the ones in danger • The “double” – the group of young people somewhat mirrors the family. There is some cruelty within the young people (specifically their treatment of Franklyn) that is amplified by the cannibals. • The cannibals are STILL A FAMILY (and a creative, somewhat inventive family) – we are curious about them, maybe sympathetic?? • This film (maybe much like Freaks ) veers into the surreal, absurd – it is kind of hilarious in its excess
Texas Chainsaw Massacre and horror conventions (Robin Wood, p. 213-214) They are eating at an actual table They have decorations Leatherface got DRESSED UP FOR DINNER
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- Fall '13
- Horror film, The Texas Chain Saw Massacre, Robin Wood