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http://iconsoffright.com/2014/07/30/why-the-final-girl-is-the-worst-thing-for-women-in-horror/

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https://www.youtube.com/watch?v=yZ-HqozfQ5M

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https://www.youtube.com/watch?v=_ZBCkCbshnk

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https://www.theguardian.com/film/2007/apr/06/2

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http://www.mookychick.co.uk/reviews/films/sexism-in-horror-films.php

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https://www.theguardian.com/tv-and-radio/commentisfree/2014/oct/17/women-in-horror-the-revenge

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https://www.youtube.com/watch?v=XHuC8rtGcnk

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https://www.youtube.com/watch?v=7a3eLNgSKKQ

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https://www.youtube.com/watch?v=Ck782YxTAzk

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Scream tv series 2016
Carrie
IZombie 2015
Annabelle
The Conjuring
The Returned
Bitten 2014-2016

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http://thehorrormoviesblog.com/

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http://dayofwoman.blogspot.co.uk/

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http://www.womeninhorrormonth.com/about/blog/

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Event: Mikayla Anderson Presents a Women in Horror Month Blog Series Date: February 1-28th, 2017 Location: https://themikaylanicole.blogspot.com/ Social Media: http://twitter.com/xomikaylanicole Details: In honor on WiHM, I'll have posts celebrating the insanely talented women in the horror industry. From the blood-stained faces we know and love, to the women behind the scenes in charge of bringing all of our nightmares to life.

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Horror films, particularly those about masked men wielding blades and taking out unsuspecting innocents one by one, often have a roster of stereotypical female victims. "The bimbo, the party girl... who is one of the characters who's going to get slashed and killed right away" is one such type, says film-maker Jenn Wexler. "And then one that's reading a book so she's going to be the final girl who survives to the end."

Women often don't fare well in horror movies, with those who are sexually active implicitly shamed by being killed off quickly. There have been some exceptions over the years - most notably, the Alien films with Sigourney Weaver's Ripley, who isn't sexualised and is defined by her formidable skills and intelligence - but many feel the genre's consideration of gender needs improvement. Reporting for Talking Movies, Nada Tawfik talks to several women film-makers who believe that a different approach to horror is possible.

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Horror films, particularly those about masked men wielding blades and taking out unsuspecting innocents one by one, often have a roster of stereotypical female victims. "The bimbo, the party girl... who is one of the characters who's going to get slashed and killed right away" is one such type, says film-maker Jenn Wexler.

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In 2011, Wes Craven decided to add a fourth instalment to the hugely successful late-90s slasher satire Scream. It was far too knowing: while the key to the original franchise had been not only its jumpy scares but its meta-ness, by Scream 4 things had become overly self-referential, with horror tropes running about like screaming teenagers. Plus, half the gags revolved around Facebook, Twitter and the rise of Saw-style torture-porn flicks. Scream had effectively become Scary Movie.

When it was announced that MTV was rebooting the franchise with former Disney star Bella Thorne, it seemed that Scream might just become Gossip Girl with actual backstabbing. Indeed, season one set out a pretty similar stall to Sidney and co's less successful adventures. Alongside Emma Duval (played by Willa Fitzgerald), a pretty teen with a penchant for answering calls from private numbers, there were updated twists that were about as subtle as a 50ft sign spelling "Snapchat" in blood. There was a visiting blogger, Piper, who turned up in Lakewood to investigate historic murderer Brandon James; a cyberbullying plot; and even a dash of slut-shaming when a video of two girls getting off in a car went viral. Siri contributed to the show's first death, and horror fan Noah hosts his own crime podcast, The Morgue. So far, so Noughteens.

Despite this, it managed to be far scarier than you might imagine, and things move a bit slower than in the movies. There was time in season one to build up empathy for Will, who became embroiled in a blackmail plot that went a shade too far. You cared about Emma enough to feel truly shocked when it transpired that her mum had been playing with the truth about her family's connection to the Brandon James killings. And you wondered whether overzealous English teacher Mr Branson, or even Emma's iron-jawed bf Kieran could be the killer - and then you wondered again.

The murderous game of Guess Who? was preserved, but clues were drip-fed with each instalment rather than being revealed all at once. In the age of binge-watching, it was also a novelty to have a thriller you were forced to savour: unlike the majority of its other shows, Netflix released the show on a weekly basis. It also helped that Thorne's appearance was essentially a cameo, so there were no big teen names (bar perhaps Arrow's Bex Taylor-Klaus) here to distract from the authentic small town feel.

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Bex Taylor-Klaus as Audrey Jensen. Photograph: Eliza Morse/Netflix

Thankfully, the show's makers haven't been afraid to dig a little deeper for season two, which is currently airing and follows a second round of butcherings. Emma's post-traumatic stress disorder - sustained after a particularly horrific episode with season one's text-happy killer - has been fleshed-out, and her stay on a psychiatric ward alluded to with disturbing dream sequences and bumpy camera work. Another character, Zoe, admitted that she had also had to leave school due to mental health issues not - as previously claimed - for a science camp. Domestic abuse even became part of the narrative when Emma discovered yet more insalubrious things about her family's past. The slow-burning psychological aspect is key here, with a recent episode dedicated entirely to watching the pals undergo ayahuasca-induced hallucinations which only intensified Emma's trauma. Indeed, she is even shown donning the Brandon James mask in the trailer, which begs the question: could our troubled heroine also end up a suspect?

As we near the season finale, the pals are running straight back towards the danger, as Neve Campbell's Sidney did all those years ago. However, that's where the similarities end. You could see Scream's 2016-ready plots as an affront to the legacy of a brilliant, subversive, horror franchise, or - as I do - a necessary part of a distinctive new saga that delves deeper into its characters' backstories than ever. In Scream 4, Sidney says the first rule of remakes is "Don't fuck with the original" - something that this new Scream is in no danger of doing, given that it's a fresh proposition with only hints of Woodsboro-themed homage. That said, can someone tell the killer to give those gifs a rest?
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Scream if you want to go slower: why the slasher flick works better on TV

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In 2011, Wes Craven decided to add a fourth instalment to the hugely successful late-90s slasher satire Scream. It was far too knowing: while the key to the original franchise had been not only its jumpy scares but its meta-ness, by Scream 4 things had become overly self-referential, with horror tropes running about like screaming teenagers.

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https://www.quora.com/Why-is-the-protagonist-in-horror-movies-almost-always-a-woman

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Scream tv series 2016
The Conjuring
Annabelle
IZombie
Bitten
The Returned

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http://www.bbc.co.uk/culture/story/20150805-are-horror-films-inherently-sexist