Sociology

The slasher films genre present the luminal, the grotesque, and the irrepressible in a manner to initiate their subsistence to modern society while at the same time immunizing the danger and reinstating classification through the finale of the film. This invigorating value of the horror movies clarify its reputation during periods of energetic variations as it forces culture to come face to face with its fiends, factually.

Carol Clover in her book Men, Women, and Chainsaw, points out some very major and notable concerns the structural arrangement of what she notes as final girl concept in respect to spectatorship. While the majority of theorists mark the horror film genre as male-chauvinist or a male-centered type, Clover mentioned that it is the final girl in the end of the movie that structures the genre of male or female identification. It is this final girl who in the end survives and kills the threat along with the killer in most horror films. So while the descriptively main killers biased point of view may be male contained by the narrative, the male viewer is still searching for the final girl to conquer the slayer (Clover, 1992).

We can see this working conventionally in Jamie Lee Curtis from Halloween in 1978, Jennifer Jason Leigh from Eyes of a stranger in 1981, Betsy Palmer from Friday the 13th in 1980 and Heather Langenkamp from A Nightmare on Elm Street in 1984. In any case, Clover and other feminists divest themselves of great prospective substance with their close to limited reliance on American horror.
The final girl concept mainly refers to horror films listed above as they portray an influential female who struggles and wins the struggle for her own endurance, while at the same time treating substantially to the socio-moral norms. Clover emphasizes the maleness of the final girl, when she states this to be an a loosening of the category of the feminine (Clover, 63).  She takes over male strength which allow the male audience to identify with her.

Mary Ann Doane on the other hand discovers the idea of deception or masquerade to further explain the relation of woman to her representation in the movies. Her work was actually premised on work of Joan Rivir. Doane mentions that masquerade, in her understanding of female characters in movies, is a mask of feminism that women wear to overcome the power of males in this society. Doane noticed that women who find themselves in a male position of power put on a masquerade of feminism that functions as recompense for their male position. Doane disputes that the female viewer lacks this essential aloofness because she is the representation. Femininity is built as nearness, as an irresistible presence-to-itself of the female body (Doane, 1982). The female spectator can assume the derivation of pleasure of over-identification or the vanity involved in becoming ones own object of yearning (Doane, 31-32). Doane mentions that the female audience is inspired by the representation rather than overriding it.

In the light of the two feminist critics we can say that Audition, a Japanese horror movie was designed to bring logic to an absolute opposing reaction to the content of the movie. But its development is rooted more in its quality to significantly cross its horrifying horrors with the more terrifying topic of sexual politics. Women are usually the victims in the horror movies whether they are slashed with a knife, shot in the head, raped or mutilatedwomens deaths are encapsulated with the horrifying screams. Most identifiable is their customary destiny in slasher films, wherein sexuality (in desire and practice) is chastised through bereavement, but it is a custom of control that extends far back into the horror composition of literature and movies. Theories of Doane and Clover do not have a firm standing, as this movie presents a third genre, where women are the pain givers however this can be related to Doane feminine masquerade of desire.