Abstract
In Suzanne Collins’ Young Adult trilogy, The Hunger Games (2008–2010), the homicidal state of Panem acts like the classic psychopath of slasher films. Katniss Everdeen’s refusal to become a Final Girl in the brutal Games inspires the revolution that destroys President Snow’s tyrannical regime. Hailed as a hero, Katniss has, however, no true agency. Overwhelmed by her victimization, she even commits a shocking crime: the political assassination of the new leader, Alma Coin. The love of the Final Boy, Peeta Mellark, is essential for this Final Girl to survive, yet not enough for Katniss to ever cease being a victim.
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Notes
- 1.
I focus here on the novels, although my arguments also apply to the remarkably faithful film adaptations.
- 2.
Based on a novel (1999) by Koushun Takami, also adapted as a manga series (2000–2005) by the author and illustrated by Masayuki Taguchi.
- 3.
This is somehow ironic since Cinna secretly supports the rebellion: he uses his designs to feminize Katniss but also to dress her as the subversive Mockingjay.
- 4.
Collins focalizes the story through Katniss but still manages to give readers an accurate impression of the Final Boy’s silent romantic suffering, for Peeta does love Katniss.
- 5.
An atrocity that, interestingly, the films ignore, perhaps finding it too gruesome.
- 6.
Like Katniss, she has volunteered instead of another person: Annie, who lost her sanity in the Games she won.
- 7.
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Filmography
A Nightmare on Elm Street (2010, USA, dir. Samuel Bayer).
Battle Royale (2000, Japan, dir. Kinji Fukasaku).
Fear Factor (first run 2001–2006, USA, NBC).
Survivor (2000–present, USA, CBS).
The Hunger Games (2012, USA, dir. Gary Ross).
The Texas Chainsaw Massacre (2003, USA, dir. Marcus Nispel).
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Martín, S. (2020). Sinister Power Play and the Final Girl: Katniss Everdeen in Suzanne Collins’ The Hunger Games Trilogy. In: Paszkiewicz, K., Rusnak, S. (eds) Final Girls, Feminism and Popular Culture. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-31523-8_8
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