In her seminal work on gender theory in modern horror cinema, Men, Women, and Chain Saws, American scholar Carol J. Clover questions and rejects the critical and theoretical position of her time on exploitation film (including low-budget, independent horror), and the feminist reading of slasher film as the locus of sadistic male identification with the killer. The article outlines the essential elements of Clover’s Final Girl trope and suggests its parallels and counterparts in a broader generic and non-genre context.

The integral (Slovenian) version of this article can be found in the printed KINO!