One of the book's central strengths is the direct simplicity of its central premise: taking the classic Laura Mulvey male-centered identification process of sadistic-voyeur and flipping it around to a masochistic-voyeur (by having the identification process shift to the usually female victim/Final Girl). Vis-à-vis the Mulvian argument against male-driven cinematic pleasure, Clover does for the horror film what Gaylyn Studlar did for the Sternberg-Dietrich films: swapping the Post-Oedipal, male voyeuristic-sadistic impulse for a more feminine, Pre-Oedipal masochistic impulse. In psychoanalytical terms, sadism is post-Oedipal, meaning that it takes shape when identification shifts from the mother to the father. Masochism, deriving pleasure from one's own pain or submission, is pre-Oedipal and takes place when the mother is all powerful and is the source of the child's identification (from the womb to the breast). In the
One of the book's central strengths is the direct simplicity of its central premise: taking the classic Laura Mulvey male-centered identification process of sadistic-voyeur and flipping it around to a masochistic-voyeur (by having the identification process shift to the usually female victim/Final Girl). Vis-à-vis the Mulvian argument against male-driven cinematic pleasure, Clover does for the horror film what Gaylyn Studlar did for the Sternberg-Dietrich films: swapping the Post-Oedipal, male voyeuristic-sadistic impulse for a more feminine, Pre-Oedipal masochistic impulse. In psychoanalytical terms, sadism is post-Oedipal, meaning that it takes shape when identification shifts from the mother to the father. Masochism, deriving pleasure from one's own pain or submission, is pre-Oedipal and takes place when the mother is all powerful and is the source of the child's identification (from the womb to the breast). In the