Almost every modern movie monster will encounter this situation. Freddy Krueger or Jason Voorhees or Michael Myers will start a terrifying evil image, lurking in the shadows, often pursuing a brave heroine. Then, in the third or fourth part, the audience is already familiar with the ghouls in question, and perhaps to some extent, began to support them and everything they promised: unlikely resurrection, elaborate killings, killer generals Go back to another sequel in a year or two.
It’s not that these monsters have become less scary, although it did happen. More importantly, being the face of their series makes them de facto heroes. After all, the protagonists of horror movies are rarely seen repeatedly in movies; Screaming is an exception to the proof rule, where three beloved characters have survived multiple movies, partly because the identity of the masked killer is a surprise, not the same old murderer. In most other horror series, it is the monster that keeps the whole thing going.
However, some horror movies have developed an inverse metaphor: the monster appears in the form of a young woman, usually a teenager with complex emotions. Although the most famous (and sequel) contemporary movie monsters are often indifferent killers, unknowable and often masked, and their humanity is concealed or non-existent, monster girls are more obviously psychologically motivated. It is not obvious in the sense of the tragic background story, but in the sense of externalizing the different combinations of growth’s by-products of anger, confusion, and turmoil. (So ”girls”, not “women”; although not every monster girl is literally a teenager, most of them are either young or socially awkward, so much so that they will encounter this situation .)
Sometimes monster girls repeat familiar monster forms, such as Ginger. The girl’s adolescent changes include becoming a werewolf gingerbread; Vampire Let the right people in or A girl goes home alone at night; Or title character possible, He is more than just a misguided Dr. Frankenstein.Sometimes they create their own hybrids, such as Liming, a heroine who supports abstinence teeth Suffering from vaginal dental disease, or sharing devil who eats boys Jennifer’s body. Sometimes, they don’t have obvious supernatural phenomena—the role in them Neon Demon And recently titanium Probably qualified. What these sometimes very different movies share is the feeling that the characters’ experiences as young women in the world form their own horror performances.
The metaphor of the monster girl can sometimes be played like the upside-down of a horror movie The last girl: Rather than facing external threats, the girl claims that she has been threatened with destructiveness, and then interacts with another girl who is instinctive or not succumbing to her inner demons (such as the one in Needy). Jennifer’s body, Or Brigitte gingerbread). But Monster Girl is not a direct product of a bloody movie-nor is it a bad seed children’s horror movie, it is also very similar.It has its own touchstone: the Brian de Palma thriller of the late 70s Carrie with angerFor example, both feature young women who are spiritually motivated. Carrie Establishing a struggle between the sympathetic monster girl and the constant “good” girl can be said to be a brilliant hedge against the outcast status of the title character. Although most of the film is based on the perspective of the introverted and socially awkward Kelly White (Sisi Spicer), some scenes assume Sue Snell (Amy Owen). In the POV, she is a “normal” girl who tried to help Carrie but failed. anger There are more points of view, coupled with spy-like conspiracy, which makes it a more distracting experience, rather than immediately entering the emotions of its young heroine (this time, Owen played a woman who cannot be ignored). Nevertheless, it still has a similar bloody intensity.
Carrie Associating her bloody climax with the rituals of Girls’ Generation, both physical (because Carrie was afraid and confused about her late period) and social (through Carrie confronting her classmates’ cruelty, which was triggered in the early days of the movie) Her power, and finally realize her final revenge). The metaphor of the monster girl is almost always associated with these physical and/or psychological changes in one way or another: gingerbread, Ginger’s werewolf bite was caused by delay, and teeth‘s Dawn combines her body weaponization (first accident, then clear purpose) with her sexual awakening.This may not be accidental Snap, teeth, possible, Let the right people in, with Jennifer’s body All of this appeared in the 2000s. Following the pop culture domination of young female pop singers, they received public attention because of their appearance and sexual orientation. They were also sought after by tabloids and scorned by men. They gave them a superficiality. Sexual fantasies. (Many horror fans will laugh at these singers as pop pie; in 2004 Chaki’s SeedsFor example, the murder of an off-screen version of Britney Spears is a joke. ) Neon DemonA little further away from those days, it’s about young things, in fact, to keep young, fresh, and aspirational.
Although these movies are not entirely fantasies of revenge for girl power, many of them have found a more organic way to “enjoy” the complex ethics of horror movie killings. Not all monster girl victims deserve their tricky ending, and the opposing girl sometimes protests there.However, it is a satisfying feeling to see bastards, imps, bullies and rapists being punished for insults, because they are teeth, Or at orgasm Let the right people inAdmittedly, this is no less than a half-naked couple followed by a masked person, and sometimes repetition can be numb. teethFor example, although cunning, it relies on very limited skills. But the monster girl has a way to defend and alleviate the bloodthirsty of modern horror movies at the same time: it is interesting to see some victims get compensated while watching the monster girl lose herself in the violence (Jennifer’s body),Lonely(possible), or both (Carrie) Still disturbing. And because the competition between male heroes and powerful women can be so cunning, these movies usually create a space where multiple female characters control the narrative. Even when they finally fight each other, it tends to sting more than a girl superhero fighting a designated maid.
Perhaps this is why there are relatively few “boy” monsters in the monster girl mode. Horror films have always included sympathetic monsters portrayed or coded as males (cosmic monsters sometimes inspire as much mercy as fear), but they tend to have a more biological appearance.Murloc Shape of water Romance with human women (and more); by designing him to be more like a creature from a black lagoon than a sea king-like sea-king hunk, this movie replaces a negligence (human appearance concealing a terrible ability) with Another type (the terrible appearance conceals human sensitivity). R, the zombie played by Nicholas Holt warm bodies, Closer to the gender-reversal version of the monster girl metaphor, his zombie nature must be greatly softened-it is revealed that he is evolving back to a more humane form-in order for the movie to reach its mark, which is more romantic-com is more than horror, anyway .
Even when they delve into black comedy or avoid traditional panic, Monster Girl’s movies are more terrifying, even though they don’t rely much on the creepy atmosphere. Familiar scenes, such as old dark huts, rustling in the woods, or creaking corridors of suburban houses, may appear, but these stories do not need to isolate their characters from society (and in many cases, separate Social dynamics don’t work). The special hell of the characters is also often related to their bodies, and they are better at tracking them everywhere than the Buji people.
titanium Make this part of the story: its anti-hero spent most of the movie in her own life, where she committed multiple episodes between performances as a semi-famous exotic dancer (of some kind) Horrible, murderous murder. She left scars in childhood accidents. This kind of unruly behavior is common among children and can easily be called terrible by parents. Throughout the movie, her body is constantly changing, sometimes it is her own design, sometimes it is a physical horror plot device that has never been fully explained; it is at the same time the object of desire, fear and transcendence. titanium Many of its cousins understand that the metaphor of the monster girl can be liberated or familiar, looking for horror and beauty in the girl’s world, both are not lacking.