It is not necessarily what happens within the film but rather how it is portrayed. 3 He continues by saying that the film is not “a-who-done-it but a who-gets-it-next” 4 In Carol Clover’s Men, Women and Chainsaws (1992) Clover states that the horror genre, or more specifically the slasher film, is a participatory kind of film experience and that the “art” of the horror film is the “art” of pornography and is largely based on the act of performance. The article by Tom Shales stated that “watching this film is like watching target practice with human beings…” (2). In 1974 The Washington Post criticised the film for its excessive use of violence.
#THE TEXAS CHAIN SAW MASSACRE DRIVER#
At the end of the film she escapes, waves down a truck driver that saves her from Leatherface’s advances, and then drives off in a second pick-up truck, maimed and laughing hysterically. As the only remaining character, Sally is tied to a chair and, for close to a third of the film, is taunted and beaten by a monstrous hillbilly family of ex-slaughterhouse workers.
#THE TEXAS CHAIN SAW MASSACRE SERIAL#
They then proceed to explore the residence and get systematically bumped off by the chainsaw-wielding Leatherface, a character inspired by famous serial killer Ed Gein. Low on gas, the group settle at an abandoned family home. Along the way they pick up a wayward hitchhiker who proceeds to mutilate himself, intimidate them and is thrown out of the van.
The Texas Chainsaw Massacre tells the story of Sally, her brother Franklin and their friends who pile into a van in the blistering Texas heat to inquire about a relative’s grave.
The slasher film would evolve into a formula of highly sexualized, graphic violence with minimal plot and buckets of blood and a key Final Girl who outlives her teenage counterparts and emerges from the horrific events a changed woman. 2 Tobe Hooper’s The Texas Chain Saw Massacre (1974) was one of the first to pioneer the ‘slasher horror’ genre. 1 Films such as Night of the Living Dead (George Romero, 1968), Carrie (Brian De Palma, 1976) and Halloween (John Carpenter, 1978) championed this move into a new age of postmodern horror that challenged both the viewer and societal norms. Audiences were no longer being told of the horrors being perpetrated around the corner but were being shown them directly. In 1968 the American horror genre drastically changed from the days of Boris Karloff and Vincent Price, of castles, ghosts and stormy nights, to an unvarnished, raw and straightforward form of horror. Langlois Volume 20, Issue 7 / July 2016 16 minutes (3826 words) The Vernal, The Visceral and The Violent: The Texas Chain Saw Massacre and The Final Girlīy Justin H.
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