![]() In the early 2000s the Northern Triangle countries launched repressive strategies to crack down on gangs and curb spiralling murder rates. What had been small, territorially-based youth groups implicated in petty delinquency developed into large, more criminally-involved gangs with hundreds of cliques. Ultimately, the portrayal of the remake’s female protagonist as less sexualized and arguably more monstrous than the original character works in conjunction with other changes and a torture porn aesthetic in order to position the film clearly within the context of contemporary horror cinema.Ĭentral America’s gang phenomenon dates back to at least the 1950s, but it experienced striking changes when the United States stepped up its deportation of offending non-citizens, including members of Mara Salvatrucha and Calle Dieciocho. I also outline the way in which Monroe’s film can be understood as representative of recent trends in the horror genre – most notably, its inclusion of explicit, gory violence and themes of retribution. Using examples from feminist film theory which analyses Zarchi’s film (Clover 1992, Creed 1993, Read 2000), I suggest that Monroe’s version not only interprets, but actively enhances the perceived feminist message of the original, and consider how role reversal during the revenge section of the film contributes to this. Monroe’s remake of I Spit On Your Grave (2010), by both analysing its themes in comparison to Meir Zarchi’s 1978 original film, and by positioning the new version within its own generic context. This article aims to address the largely negative critical response to Steven R.
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