EDITORS’ INTRODUCTION

Thisspecialissuecelebratesthecomplexity,artistry,andculturalvalueoftheFridaythe

13thfranchise,anditdoessoagainstfourdecadesofreviewerswhohavedismissedand

decriedit.Indeed,thefirstessayoftheissueshowsprettystarklyhowwrongmainstream

filmreviewerscanbeabouthorrorfilm.In“‘It’sworthrecognizingonlyasanartefactof

ourculture:’CriticsandtheFridaythe13thFranchise(1980-2001),”ToddK.Plattssurveys

thosereviewsofthetenfilmsinthemainFridaythe13thfranchisethatappeared

inVariety,theLosAngelesTimes,andtheNewYorkTimes.Whatisapparentfromthis

fascinatingsurveyisthatmainstreamfilmcriticshavelittleinsightorimaginationwhenit

comestohorrorfilms.Toanyonewhoknowsthesetenfilms,inalltheirdiversity,itis

stunningthatcriticscanfindnothingtosaybutthesamethingaboutfilmafterfilm.It

seemsthesereviewersweren’twatching:theyhadthepurportedslasherformulasofixed

intheirheads(whileallthetimesayingthefilmsthemselvesdidnothingbutpurveythat

formula)thattheyfailedtoseehoweachfilmactuallyservedupinnovations.

Awatershedmomentinthehistoryofslasherfilmsandtheirreviewers,andFridaythe

13thinparticular,wastheinfamouscampaignlaunchedbyGeneSiskelandRogerEbertin

their1980SneakPreviewsTVbroadcast;inthis“specialepisode,”SiskelandEbertdevoted

almostthirtyminutestoexcoriatingwhattheycalled“women-in-danger”films.[i]Fridaythe

13th(1980)wasExhibitA–theprimeexampleofthisharmfulsubgenre,which,Siskeland

Ebertproclaimed,waslittlemorethanaviolentandnastybacklashagainstwomen’s

liberation.SiskelandEbertreturnedtoFridaythe13thmorethantoanyotherfilminthis

episode–threetimes–inordertoillustratetheirmajorpointsofdiscomfort.Theyshowthe

sceneinwhichAnnie(RobbiMorgan)getsaridetocampfromastranger,which,Siskeland

Ebertargued,illustratedhowthesefilmspunishwomenforanindependencethatwouldbe

celebratedinmen.TheyshowthesceneinwhichMarcie(JeannineTaylor)goestothe

bathroomrightafterhavingsexwithJack(KevinBacon)inordertodemonstratetheir

claimthatthefilmlinkedsexwithviolenceandconveyedthemessage,“Actthisway,young

women,andyou’reaskingfortrouble.”Andtheyendedbyscreeningtheopeningflashback

sceneofthefilm,theoriginalmurderoftwocampcounselors.Siskelusesthissceneto

supporthisassertionthatthewomen-in-dangerfilmcanbasicallybeboileddowntoone

image,“awomanscreaminginabjectterror.”

Generally,thediversityandcomplexityoftheessaysinthisspecialissue,alongwiththe

criticaltraditiononwhichitbuilds(whichyoucanseeinourbibliography),beliethe

argumentSiskelandEbertmake.However,CoryHasabeardconductedafascinating

overviewofthekillsintheFridaythe13thfranchise(all177ofthem!)andcomesupwith

someresults–aboutthegenderofthevictim,thegruesomenessofthedeaths,victim

penetration,victimobjectification,andhowlongthevictimisshowntobeinterror–that

maywelladdsupport,afterthefact,towhatSiskelandEbertclaimedin1980.[ii]Critics

writingaboutFridaythe13thshoulddefinitely,goingforward,reckonwithHasabeard’s

data,analysis,andconclusions.

SiskelandEbertclearlyfail,however,torecognizetheartistryofFridaythe13th.This

omissionisallthemorestrikinginthat,inthelastpartoftheirshow,theyshiftfrom

castigatingFridaythe13thandother“women-in-danger”filmstolavishingpraise

onHalloween(JohnCarpenter,1978).ThereviewersadmireCarpenter’sfilmforits

“artistryandcraftmanship”andforensuringthat“yourbasicsympathiesarealways

enlistedonthesideofthewoman.”SiskelandEbert’spraiseofHalloweenonlyhighlights

theirrefusaltoseeFridaythe13th’scomplexity,includinginthescenestheythemselves

adduceasevidenceofitsawfulexploitativeimpulses.Theydon’tacknowledge,forinstance,

thatthekillerofFridaythe13thisawoman,notasexuallyfrustratedman,thatthefilm

actuallygoestosomelengthstoelicitsympathyforAnnieand,later,forAlice(Adrienne

King),orthatthesceneinwhichMarcieisstalkedinthebathroomactuallyinvolvesa

seriesofcomplexandshiftingpoint-of-viewshots.FraserCoffeen’sessayinthisspecial

issuetracestheevolutionofthepoint-of-viewshot(specifically,thekiller’spoint-of-view

shot)withinthehorrorgenreinordertodemonstratehowFridaythe13thupends

audienceexpectations.SiskelandEbertareperhapsthefirsttoidentifywhatcriticslike

CarolJ.CloverandVeraDikawillsoonexplorefurther–thatinthesefilms,“weviewthe

scenethroughtheeyesofthekiller.”It’salmostasif,Ebertcontinues,“theaudienceis

beingaskedtoidentifywiththeattackersinthesemovies,andthatreallybothersme.”But

itisworthcomparingthediscussionSiskelandEberthaveaboutthesceneinwhichMarcie

isstalkedinthebathroom(17:30–19:35)toCoffeen’sanalysisofitsactualcomplexity.

“Artistrycanredeemanysubjectmatter,”Ebertsays.Butnotifyoustubbornlyrefuseto

seeit,notifyourpriorassumptionsblindyoutoit.

Hereisthe“WomeninDanger”episodeofSneakPreviews.YoucanseeSiskelandEbert’s

discussionofthescenefromFridaythe13th,inwhichMarcieisstalkedinthecamp

bathroom,at17:30-19:35.

To watch the video, click on the image.

Filmcriticshave,ofcourse,consistentlyfoundvalueintheslashersubgenreingeneraland

theFridaythe13thfilmsinparticular.Perhapsnocritichasdonemoretoshapethe

conversationaroundtheslasherfilmthanCarolClover,whotookfilmsthatwere,asshe

putit,“atthebottomofthehorrorheap,”andlaunchedacomplexanalysisoftheirgender

politics.[iii]Clovercoinedtheterm“FinalGirl”todescribethecharacterwhois“chased,

cornered,wounded;whomweseescream,stagger,fall,rise,andscreamagain”–whois

“abjectterrorpersonified.”Yetshesurvives.[iv]TheFinalGirlis,Cloverargued,bothfear

personifiedandtheheroofherownstory,thusservingastheambiguouslygenderedpoint

ofidentificationforbothfemaleandmaleviewers.ThroughtheFinalGirl,theslasherfilm

constitutes,Cloverclaims,“avisibleadjustmentinthetermsofgenderrepresentation.”[v]

Notsurprising,CloveradducestwoFinalGirlsfromFridaythe13thfilmstomakeher

argument–AlicefromthefirstandGinny(AmySteel)fromthesecond.[vi]

Thecontributionstothisspecialissuejoinanongoingandvibrantcriticalconversation,

then,aboutgenderintheslasherfilm.[vii]Andtheyjointhisconversationbyexploring

theFridaythe13thfilms,whichhave,toadaptClover’sphrase,foundthemselves“atthe

bottomofthe[slasher]heap,”languishingintheshadowof“better”films

likeHalloweenandTheTexasChainSawMassacre(TobeHooper,1974).Dustin

DunawayusesR.W.Connell’sMasculinitiesandJohnBowlby’sdescriptionofrelationship

attachmentstylesinordertoexploretheevolvingformationsofmasculinityinthefirst

fourFridaythe13thfilms,arguingthatPart2andPartIIIdoubleddownonthemasculine

typesfeaturedinthefirstfilm,whileTheFinalChapterdidsomethingnew.Dunawayends

byconsideringJasonasconventionalmasculinity’sabjectnegation.EthanRobles

continuesDunaway’srecognitionofthedistinctivenessofTheFinalChapterbutlooksnot

atTedandJimmybutattheimportantcharacterofTommyJarvis(CoreyFeldman).Indeed,

Roblesarguesthatthis1984installmentrepresentedthefirstincarnationofthe“Final

Boy”intheslashersubgenre.Finally,DavidRuisFisherdetailsthenarrativepotentialin

queeringtheFridaythe13thfilms–includingtakingupthecentralfactthatthefranchise

wasboomingduringthe1980s,attheheightoftheHIV/AIDSepidemic–andhowsucha

readingcreatesaconstructiveformofrepresentation.

Thenextsetofessaysinthisspecialissueofferreadingsofspecificentriesinthefranchise,

highlightingtheirnarrativeandaestheticinnovations;inmanycases,theseessaysconsider

howvariousFridaythe13thinstallmentsevinceanintriguinggenerichybridity.Wickham

ClaytonhasalreadyofferedanimportantanalysisofthecomplexityofFridaythe13thPart

V:ANewBeginning,[viii]andherehearguesforthedistinctivenessofPartIIIinthewaysit

presents“uncomfortabledeath”and,atthesametime,acomplicatedpolitics.Brian

FanellithentakesupFridaythe13thPartVI:JasonLives,exploringhowthisentryis

distinctiveinthewaysitdrawsontheconventionsofUniversal’sMonstermoviesfromthe

1930sand40s,mixingaGothicseriousnesswithasignificantcomedictouch.KevinJ.

Wetmore,Jr.alsoexploresthefranchise’sgenrehybridity,readingFridaythe13thPart

VIII:JasonTakesManhattanasverymuchakintothehigh-schoolsexcomedy/romance

(thinkTheBreakfastClub).Despitethefactthatittakesplace(mostly)onashipand

(partly)inManhattan,thisinstallmentiseverybitahigh-schoolfilm,Wetmore

argues.StellaCastelliappliesavaudevilleaestheticframeworktothetitularcharacters

inFreddyvsJasonand,indoingso,demonstrateshowtherelationshipbetweenthesetwo

iconiccharactersreadsaspurelyperformative.Lastly,extendingbeyondthefilms

themselves,CaitlinDuffyexplainshowFridaythe13th:TheGameincorporatesand

challengesnarrativeelementsofthefilminordertoexpandthestorytellingpotentialofthe

cinematicfranchise.

Thenexttwoessays,likethosebefore,eachtakeupaparticularFridaythe13thfilm,but

theybothdosointhelargercontextoftheecologicalimplicationsofthefranchise,

somethingthatdefinitelywarrantsfurtheranalysis.Fridaythe13thquiteclearlyand

repeatedlyassociatesJasonwithnature:heisassociatedwiththewater,withstorms,with

forest.Inhisbrilliantreadingofthefilm’srootsinMarioBava’sABayofBlood(1971)[ix],

AdamLowensteinarguesthatbothfilmsevinceanarrativedrivetoclearthelandscapeof

characters:“Thosehumanswhoselivesdisturbthelandscapearemethodicallyremoved,

untilonlythelandscapeitselfandatokenliving(orperhapsundead)presenceremains.”

Lowensteincallsthisthe“pleasureofsubtractivespectatorship,”anditencouragesthe

audienceto“integratethemselveswiththelandscape.”[x]Inthefirstfilm,Mrs.Voorheesis

theforceof“depopulation”–butthenJasontakesoverthetask.Jasonseemseerilybound

withnatureandinimicaltothehuman,embodyinganecologicalcritique.

J

asonJ.WallinexplorestheconnectionofJasonandnatureinaclosereadingofFridaythe

13th:TheFinalChapter,notingthatthe“risingsenseofdreadevokedthroughoutthebody

ofthefilmiscomposedlargelythroughthe‘inhumangaze’ofthecamerawithdrawnunder

thecoverofthewoods”–astrategyused,ofcourse,innumerousinstallmentsofthe

franchise.Wallinprovocatively,andconvincingly,coinstheterm“eco-stalker”andgoeson

toconnectthestrainofmonstrousnaturerunningthroughoutTheFinalChapterwith

consumerculture.MatthewJoneslocatesFridaythe13thPartVI:JasonLivesasasimilarly

ecogothictext,beginningbypointingouthowthisparticularentryinthefranchisewas

releasedintheimmediateaftermathoftheChernobylnucleardisaster.Jonesreassessesthe

iconicslasheras“aforceofmonstrousnature,theresultofmaterializedfearsstemming

fromenvironmentalpoisoningandmutation,”readingJasonLivesasa“collectiveecological

nightmare.”

ThelastsetofessaysaddressthefranchisemoregenerallyinrelationtoUSculture.Wade

NewhouseoffersaninsightfulanalysisofhowtheFridaythe13thfilmsdrawonmythsof

frontierviolenceandfemalesurvivalthathavelongbeenapartoftheAmericantradition.

NewhousespecificallyreadstheFridaythe13thfilms,especiallytheirFinalGirls,asa

continuationofMaryRowlandson’s1682captivitynarrativeandofCharlesBrockden

Brown’sWieland(1798),oneofthefirstgothicnovelspublishedintheUS.Kom

KunyosyingandCarterSoles’essayalsoreadstheFridaythe13thfilms–andJasonin

particular–withinenduringAmericantraditions,specificallythefigureofthehillbillyand

themorerecentlyemergentfigureofthe“berserker,”whichhasbecomeapowerfulsymbol

oftheRight.BrennanThomasexploreshowFridaythe13thPartIII,despiteits3D

gimmick,isatopicallyrelevantfilmexploringsocialissuesreflectiveofapost-Vietnam

America,specificallytheera’sdisenfranchisedanddisplacedyouth.Andfinally,Erin

HarringtonconsidersthereverberationsofthefirstfourFridaythe13thfilms,read

alongsideTheBaby-sitters’ClubSuperSpecial#2.Thisunlikelypairing,Harringtonargues,

discloseshowbothhavedemonstrablycontributedtoshapingviewsofAmerican

adolescence.

Someoftheseessaysarepersonal,someareacademic,someareboth,buttheyeachoffera

newwaytothinkaboutanimportanthorrorfranchisethathasbeengoingstrongforforty

years.Wehopeyouenjoythem!

Notes:

[i]EbertalsopublishedanarticlethatcoveredtheargumentsheandSiskelmadeontheir

show.[ii]Forothercontentanalysesoftheslasherfilmgenerally,seeCowanandO’Brien,Linzand

Donnerstein,Sapolsky,MolitorandLuque,andWeaver.[iii]Clover,21.[iv]Clover,35.[v]Clover,64.[vi]Clover,38,39-40.[vii]SeeDika,Lizardi,Pinedo,andRieserfordiscussionsofgenderintheslasherfilm.[viii]Clayton,37-50.[ix]Turnock(pp.183-96)alsoanalysesFridaythe13th’srelationshiptoBayofBlood.[x]Lowenstein,138.

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