Intersectional feminism in 21st century horror cinema

With the horror genre as an already established medium that holds the potential to reject stereotypical depictions of women and dismantle patriarchal ideology, this study argues that feminist horror cinema has the currently under-realised
potential to provide a unique platform for exploring intersectional issues and amplifying the voices of underrepresented groups. The rejection of gender norms within feminist horror cinema is sometimes depicted in a way that is harmful to marginalised women, fuelling existing stereotypes as a byproduct of female empowerment. As a response, this study finds its foundations in Kimberlé Crenshaw’s theories on intersectionality, aiming to promote a model of feminist horror theory that challenges existing stereotypes, whilst simultaneously acknowledging multiple forms of discrimination according to various identity factors. Through textual analysis, this study examines the way in which feminism intersects with race and ethnicity, social class, LGBTQ+ identity, religion, age, and disability within Western horror cinema. Predominantly drawing on Julia Kristeva’s theories on abjection, Barbara Creed’s monstrous feminine, and Carol J. Clover’s theories on the Final Girl and rape-revenge narratives, this study also highlights Donna Haraway’s concept of the cyborg and Judith Butler’s concept of performativity to emphasise the potential for feminist portrayals that transcend patriarchal feminine ideals, positioning themselves in a space that exists beyond the confines of socially and culturally imposed norms.