Certainly Hunter's Blood (1986), another Deliverance-based text, mixes homo- and hetero- in ways that unsettle the apparent categories. I have mentioned Hunter's Blood in passing, and it is now time to give a fuller account.
Including a new preface by the author, this Princeton Classics edition is a definitive work that has found an avid readership from students of film theory to major Hollywood filmmakers.
Carol Clover argues, however, that these films work mainly to engage the viewer in the plight of the victim-hero - the figure, often a female, who suffers pain and fright but eventually rises to vanquish the forces of oppression.
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