I am one of the biggest fans of the horror genre. I was introduced to this genre by my grandmother who also enjoyed a good horror film. I often marvel at how many women I know that do not enjoy a scary movie, as much as I am amazed by the number of those that do. My fascination with this genre was ignited by my grandmother and I have passed it down to my daughter and we three are the sole females in the family that admire the horror genre. Meg and Kelly are a part of this tribe. This book is a testament to that tribe and to the evolution of our gender within the genre. The Science of Women in Horror is important because it is respectfully showcasing an honest fact which is that the horror genre IS a feminist genre usurped by the male gender. Through a survey of ten of the most represented tropes of the genre, Hafdahl and Florence is reminding us that women have always and will continue to be an integral part of this genre.

From the very introduction of this book, the reader is reminded that the very first foray into the genre was made by a teen girl named Mary Shelley. The authors then went on to explore the ‘mother’ trope, often a source of inspiration for many horror movies. Given that a female gave birth to the genre, the genesis of this trope comes as no surprise. The evolution of the mother trope is seen through the movies chosen to discuss it. Hafdahl and Florence prove the thesis that motherhood itself can be a horrific process and so its exploration and inclusion within the genre is not only justifiable but an obvious place for curiosity and extrapolation. Their choice of movies to explore this trope highlighted the incontrovertible perpetuation of this trope.

Hafdahl and Florence then went on to explore the other nine tropes and themes that exhibit the female gender prevalent in the genre from the final girl to the kick-ass women. I especially liked the order chosen to survey these tropes because it mimicked the female lifespan. Within the ordering of chapters, Hafdahl and Florence also exposed the duality inherent in their tropes by offering opposing axes, such as The Mother and The Final Girl, Sex and Revenge, The Innocent and The Gorgon, The Healer and Hysteria, Women in a Man’s World and Kick-ass Women. By using the book’s format, these authors touched on the duality inherent in women and by extension how society and the genre views and represents women. Whether by design or not, I thought these were clever and simple devices employed to cement and focus the book’s thesis.

The choice of movies used in this survey to represent each trope was succinct and well chosen. Other films that came up during each chapter’s discussion were also very well chosen. Given that these tropes are extremely well established, the reader and horror genre fan will undoubtedly have other films they believe to be suited but that is subjective and choice in fact invites conversation and engagement. For the survey, the films chosen were perfect representations that included experimental and indie films alongside bigger, more well-known studio productions, and historical older films alongside new releases (at the time of publishing). This range emphasized the authors’ research, knowledge, and admiration for the genre.

The inclusion of interviews by female actors, producers, writers and filmmakers within the genre throughout the book was a source of inspiration, education and highlighted the progress made within the industry. However, with that enlightenment came the realization that this genre had for all intents and purposes been stolen from us. The horror genre is a male-dominated genre in front of and behind the scenes and the industry can be seen as a metaphor for the patriarchy. I appreciate that Hafdahl and Florence made mention of gaslighting and its use to usurp the genre from its “Mama” (another really good horror movie). That women are only now making inroads to reclaim their voice and place in a genre that was birthed from the mind of a woman is tragic. However, rather than push the feminist agenda and bemoan the atrocities visited on the female gender behind and in front the camera, Hafdahl and Florence instead chose to simply lay out the evidence and educate the ignorant. The authors’ incorporation of science and how it was used to control women in society and their representation in the industry also spoke to the transgressions visited upon us. It is no wonder a woman that created the first “monster”.

Commendable to this discussion was the authors’ inclusion of discourse featuring the LGBTQ+ community with a highlight on the transgender community. In today’s landscape, a discussion on gender in any industry would be incomplete without the inclusion of the LGBTQ+ community. Also of note, was the differentiation made between gender and sexuality and their perception, presentation and representation within the industry. It is always flabbergasting to me how much manspreading takes place even within traditional spaces. With the traditional roles given to both genders it is not surprising, but it is nonetheless heartbreaking that so much of it took place in this genre.

The Science of Women in Horror doesn’t just look at the industry through a feminist lens but through a humanist one. This book dissects the origins of the genre and the roles that women were placed in. It analyzes an industry that delegated the woman to a supporting role and used science to keep her there, when SHE IS the very impetus of the industry. Hafdahl and Florence identified the changes taking place as women reclaim their voice behind and in front of the screen and signaled a path forward. The duality of women is rife within this genre and this book acknowledges that. To quote Meredith Brooks:

“I’m a bitch, I’m your lover
I’m your child, I’m your mother
I’m a sinner and a saint
I do not feel ashamed
I’m your hell, I’m your dream
I’m nothing in-between and know you wouldn’t want it any other way”

But and this is a big BUT, Hafdahl and Florence is also stipulating that women are more than the two extremes we have been slotted into in order to appease the patriarchy within the genre and society. The Horror genre is evolving regularly to push boundaries and blur lines, to subvert and invert, to include and acknowledge. Women are finding their way forward and to a place of reclaimed prominence in an industry that was ripped from their hands. As the horror genre continues to evolve and women continue to take up space, I am confident that the genre will more than survive it will blossom and I can think of nothing scarier and who better than Mary Shelley to allocate this: “I am fearless and therefore powerful.”        

       Pros:

• Relevant thesis and subject given the current societal landscape
• Interviews were educational, interesting and inspiring
• Organization of the chapters to mimic the female lifespan and her duality
• Inclusion of end notes and index
• Scientific research to underpin discourse

Cons:

• Publishing date of 2020 wouldn’t include new progress or changes

Cover Score:  8.5/10

Book Score: 9.0/10

Get yours at Amazon.com

Review by The Reviewblr

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