Author: Susan Hopkins, Centre for Heritage and Culture, University of Southern Queensland - Academia.edu, Google Scholar, ResearchGate

Abstracts:
- »In her chapter on erotic teen thrillers of the 1990s, Susan Hopkins reexamines several popular flms that depict confdent, (hyper)sexual, working-class girls as overly ambitious, violable, and disposable. Films like Poison Ivy, Wild Things, and Fear demonstrate the contemporaneous anxieties over “girl power” and upward social mobility in the 1990s, blaming and punishing teenage girls for the predatory acts of older men upon them. Hopkins powerfully demonstrates the ways in which Hollywood flms tie victimhood to middle-class, “proper” feminine norms, perpetuating numerous rape myths and slut-shaming discourses that circulate around working-class women and girls.« (Source: Stephanie Patrick and Mythili Rajiva. »Introduction.« The Forgotten Victims of Sexual Violence in Film, Television and New Media: Turning to the Margins. Edited by Stephanie Patrick et al. Cham 2022: 16)

- »The following chapter utilizes close, textual and feminist analysis of fictitious, teen, “bad girl” characters Othered and punished within the misogynistic moral narratives of erotic thriller films of the 1990s. Specifically, the chapter explores how ambitious, confident, (hyper)sexual “bad” girls are constructed within these popular film narratives, through gendered social class myths. The author argues that these intersecting, class-shaming, slut-shaming myths also reflect reactionary cultural anxieties about female upward social mobility and popular girl power in the 1990s. The chapter interrogates the intersecting class-based assumptions, stereotypes and rape culture myths repeated across these representative film case studies, especially those which may inadvertently function to blame teenage victims and excuse older male predators. The author takes issue with the (mis)representation of the monstrous, bad or shadow girl (who is supposedly “asking for it” by asking for too much) and challenges the punitive heterosexual male gaze and moral economy of these films.« (Source: SpringerLink)

Contents:

	2.1 Introduction: Rape as Warning, Murder as Moral Message (p. 25)
	2.2 Dirty Little White Girl: Class and Backlash (p. 27)
	2.3 Her Evil Shadow: Victim-Blaming Narratives and Vocabularies of Motive (p. 29)
	2.4 Poison Ivy (1992): Class-Shaming and Slut-Shaming the Monstrous Feminine Usurper (p. 32)
	2.5 Wild Things (1998): Girls as Predators and Girls as Prey (p. 37)
	2.6 Fear (1996): The Princess, the Slut and Rape as Pedagogy (p. 41)
	2.7 Conclusions: Her Evil Shadow and Other Rape Culture Myths and Motives (p. 43)
	References (p. 44)

Wikipedia: History of the Americas: History of the United States | Film: Erotic thriller / Fear (1996 film), Poison Ivy (1992 film), Wild Things (film) | Film: Films about rape | Sex and the law: Rape / Rape in the United States