While I wasted my obligatory horror film post back in May, I realised that I hadn’t really gone into depth about the underlying theme that links most (if not all) of the films on that list together – the way the horror genre exoticises and demonises puberty, sex and womanhood. Slasher films are particularly guilty of this. In many slasher films, especially in early examples, the “final girl” survives to the end of the film and defeats the killer. Usually, she survives because she is a virgin and the other female characters – normally sexually active women – are punished by the narrative for their promiscuity.
It’s true that women are often the victims in horror films that treat puberty as a cause for alarm, as a step into a world of violence and fear. However, there’s certainly no shortage of women who commit violence within the genre and, equally often, such violence is presented as a coming-of-age ritual for the female protagonist. Either as a victim or as a perpetrator, her experiences with fear and with conflict are integral to her “growing up”.
“It’s corn syrup, Daddy. Want some?”
Themes that crop up a lot are menarche and menstruation; it’s easy to see why. It’s cyclical, linking it to curses and prophecies within horror – you know the one, “Every 20 years, the great god Cthulhu demands a virgin sacrifice.” It also appears predominantly in films that explore lycanthropy (werewolfism!), which in most myths is dependent on the lunar cycle. Furthermore, menstruation is the only entirely natural process in which blood is excreted from the body. Despite being an absolutely normal and non-threatening experience, it lends itself to narratives that treat menstrual bleeding as equivalent to violent injury like stabbing or mutilation. The point of the horror genre is to unsettle and unnerve us. What better way to scare us than to convince us (at least for roughly 90 minutes) that our own body might turn against us?
A good example is the film Ginger Snaps (2000). In the film, Ginger Fitzgerald, a 16-year-old girl, starts her period. On the same day that she receives “the curse”, as she refers to it, she is attacked and bitten by a werewolf. Her younger sister Brigitte must find a way to cure her before Ginger is completely transformed into a monstrous creature. There’s very much a conflict between the girls’ mother’s romanticised idea of menarche, the school nurse’s calm explanations and Ginger’s own experiences. Her transformation is marked by exaggerated indications of puberty – we see her struggling to shave off thick hair, her period seems to go on for weeks and her sexual awakening results in a near-death experience for her boyfriend, who contracts lycanthropy like an STD and has a period of his own. Of course, the film is hyperbolic, but when you go through menarche as a teenager, these new and often painful experiences can feel very much like a nightmare.
At its heart, Ginger Snaps is a film about sisterhood. It explores the complex bond between young women, related by blood or not, by candidly depicting internalised misogyny. The Fitzgerald sisters frequently denounce their arch-enemy Trina Sinclair as a “slut” and she responds in kind, but all the teenage girls in the film are a united front when it comes to boys and their tenuous, uncertain interactions with them. In fact, Trina’s death scene and her conversation with Brigitte prior to her death is particularly fascinating. In reference to seeing Brigitte hanging out with Trina’s ex-boyfriend, Sam (who helps Brigitte find the cure), Trina says to her: “If you’re so f*cking smart, you won’t give him the satisfaction. Somebody, just once, shouldn’t give that f*cker the satisfaction!” That doesn’t strike me as something a nemesis would say. To me, that sounds like Trina trying – if haphazardly – to protect Brigitte from earning a reputation like hers. The girls show awareness of the sexual double standard earlier in the film. Lamenting her bad experience with her boyfriend, Ginger remarks to Brigitte that “A girl can only be a slut, a bitch, a tease or the virgin next door.”
Along those same lines, menarche is undoubtedly linked with the onset of fertility and sex. It’s fairly archaic symbolism and bears less relevance in the modern era, as obviously not all women want to or are able to have children. In addition, not everyone who experiences the menstrual cycle identifies as a woman and trans women may not experience it either.
However, I still find it interesting. Take the film The Company of Wolves (1984), for example, based on the short story of the same name from the anthology The Bloody Chamber by Angela Carter. All the stories in the anthology deal with womanhood in some way – whether it’s through menarche, marriage or sex. The film is no different. While it is admittedly not an easy film to understand, due to heavy use of surrealism, ambiguous symbolism and a blurred boundary between the real world and the “dream” world, it is essentially a coming-of-age story. It’s a beautiful film, but it does take a few repeat viewings to take in everything. There’s so much symbolism in every frame and it can be a bit perplexing initially. The Company of Wolves also features werewolves, although they are portrayed differently to the lycanthropes of Ginger Snaps. Here, although the film makes it clear that anyone can become a wolf, the werewolves serve primarily as an allegory for men. This stems from the morals of early fairy tales, which Carter extrapolates in The Bloody Chamber. The original tale Red Riding Hood, which inspired several stories in the anthology and also the film, can be interpreted as a treatise on virginity. The wolf is a predator, out to steal away Red Riding Hood’s innocence and “devour” her, but she must be vigilant and stick to the path. Carter’s retelling is far more feminist. At the culmination of the short story and the film, the Red Riding Hood character – named Rosaleen in the film – chooses to stay with the wolf who has tricked her and eaten her grandmother. Leaving behind her parents, the village and the expectations that they had for her life, she transforms into a wolf herself and they flee into the forest together.
“They say the Prince of Darkness is gentleman… they’re right, a fine gentleman.”
Perhaps that’s the secret to making a horror film that treats women’s experiences sensitively while still being, well, horrifying. Strip the protagonist of her autonomy, stop her from being the focus of her own narrative, and you’re guaranteed to make a shitty, sexist film. Giving agency and a voice to women in horror doesn’t reduce the terror, but it does stop the film from contributing to real life attitudes and stigma.
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