Final girl

While the character Mari Collingwood in the original 1972 version of the film The Last House on the Left has been viewed as primarily a victim, the 2009 remake of the film portrays the Collingwood character as more aligned with the "final girl" archetype. In Rape-Revenge Films: A Critical Study, Alexandra Heller-Nicholas notes that the 2009 version of the character manifests traits of the trope.[13]

An early example of a "final girl" can be found in the film Black Christmas (1974), where Jess Bradford, played by Olivia Hussey, is a well-developed character who refuses to back down against a series of more or less lethal male antagonists.[14]

Sally Hardesty from The Texas Chainsaw Massacre (1974), created by Tobe Hooper and portrayed by Marilyn Burns, has been regarded as one of the earliest examples of the final girl trope.[15]

According to Clover, Laurie Strode (from Halloween, Halloween II, Halloween H20: 20 Years Later, Halloween Resurrection, Halloween (2018), Halloween Kills and Halloween Ends) is another example of a final girl. Tony Williams notes that Clover's image of supposedly progressive final girls are never entirely victorious at the culmination of a film nor do they manage to eschew the male order of things as Clover argues. He holds up Strode as an example of this. She is rescued by a male character, Dr. Samuel Loomis, in the ending of Halloween.

Sigourney Weaver, who portrayed Ellen Ripley.

Before the release of Alien 3, Clover identified Ellen Ripley from the Alien franchise as a final girl. Elizabeth Ezra continues this analysis for Alien Resurrection, arguing that by definition both Ripley and Annalee Call must be final girls, and that Call is the "next generation of Clover's Final Girl". In Ezra's view, Call exhibits traits that fit Clover's definition of a final girl, namely that she is boyish, having a short masculine-style haircut, and that she is characterized by (in Clover's words) "smartness, gravity, competence in mechanical and other practical matters, and sexual reluctance" being a ship's mechanic who rejects the sexual advances made by male characters on the ship. However, Ezra notes that Call fits the description imperfectly as she is a gynoid, not a human being.[16]

Christine Cornea disputes the idea that Ripley is a final girl, contrasting Clover's analysis of the character with that of Barbara Creed, who presents Ripley as "the reassuring face of womanhood". Cornea does not accept either Clover's or Creed's views on Ripley. While she accepts Clover's general thesis of the final girl convention, she argues that Ripley does not follow the conventions of the slasher film, as Alien follows the different conventions of the science fiction film genre. In particular, there is no foregrounding in Alien, as there is in the slasher film genre, of the character's sexual purity and abstinence relative to the other characters (who would be, in accordance with the final girl convention, killed by the film's monster "because" of this). The science fiction genre that Alien inhabits, according to Cornea, simply lacks this kind of sexual theme in the first place, as it has no place in such "traditional" science fiction formats.[17]

In Brian De Palma's 1976 film based on Stephen King's 1974 novel, Carrie, Sue Snell (played by Amy Irving) is the sole survivor of Carrie White's telekinetic outburst of destruction at a high school prom.[18]

The character Ginny Field (from Friday the 13th Part 2) has often been viewed as an example of the trope. In The Dread of Difference: Gender and the Horror Film, Barry Keith Grant stated that, "Ginny temporarily adopts Mrs. Voorhees's authoritarian role to survive. Although circumstances necessitate this, she clearly uses her enemy's strategy to become a phallic mother herself. This posture really questions the positive image of the Final Girl." He then called her "not victorious" when she called out for her boyfriend at the end of the film saying that it was done in a "non-independent manner".[19] John Kenneth Muir references Ginny in Horror Films of the 1980s, Volume 1, saying "Amy Steel is introduced as Ginny, our final girl and heroine, and the only person who seems to have an inkling of the nearby danger. She's more resourceful than Alice and nearly upstages even Laurie Strode during the film's tense finale, wherein she brazenly dresses up as Jason's dead mother and starts barking orders at the confused serial killer."[20] In Blood Money: A History of the First Teen Slasher Film Cycle, Richard Nowell said "The shift in characterization of the female leads was also trumpeted during Ginny's self-confident entrance (Amy Steel) in Friday the 13th Part II. Where the makers of its predecessor introduced Alice as she prepared cabins while dressed in denim jeans and a shapeless lumberjack shirt, the sequel's conventionally attractive lead is established immediately as combining masculine traits with feminine attributes. Ginny exits a battered VW bug in a flowing fuchsia skirt and a low-cut t-shirt."[21] Ginny's adoption of the monster's own strategy, in Part II, brings into question whether the final girl image is in fact a wholly positive one.[8]

The character Nancy Thompson (from A Nightmare on Elm Street and A Nightmare on Elm Street 3: Dream Warriors) has often been regarded as one of the most influential horror movie heroines. In his book Horror films of the 1980s, John Kenneth Muir[22] references Nancy Thompson.

The character Sidney Prescott (from the Scream films) is widely recognized as one of the most iconic and popular horror film heroines. Ana Horvat describes Sidney Prescott as "embodying the most important characteristics of the Final Girl".[23][24]

The character of Gale Weathers (also from the Scream films) is recognized as “one of the most seminal character arcs in horror movie history”.[25] Often cited as a foil to protagonist Sidney Prescott, her character development over the course of the series has led many critics to acknowledge her as a prominent final girl as well.[26][27]

Characters in the 2011 horror film The Cabin in the Woods explicitly discuss Dana's role as the final girl after a zombie attack on her and her friends. As part of a human sacrifice ritual that mirrors various horror film traditions and requires the deaths of five slasher movie archetypes: "the whore," "the athlete," "the scholar," "the fool," and "the virgin," the equivalent of the final girl who can die last or survive.[28][29]

Heyes from the 2016 slasher film Terrifier has been observed by some critics to be a darker depiction of the "final girl" archetype. Having been driven insane by the events in the film, Heyes becomes a killer herself.[30] An analysis by Brendan D. describes Victoria as a reflection of Art—"Our most recent final girl is Victoria from Terrifier, and what makes her so unique is her post-final girl status. Most final girls appear in the sequel or following situation as a capable guide for the next group of cannon fodder to demonstrate the villain's return. Instead, the trauma corrupts Victoria; she becomes monstrous like Art, with a disfigured appearance; and the brutality of a live-show death when a talk-show host mocked her. She is not a heroine but a dark reflection of the atrocities Art the Clown committed, fit for ridicule and loathing."[31]

John Squires[32] of Bloody Disgusting described Happy Death Day's Tree Gelbman as a modern example of the trope and contrasts her to Friday the 13th's Alice Hardy.

The character Maxine Minx (from X films), manages to escape the farm alone where she and her friends have endured horrors under the elderly couple during the night. Attempting to ignore her own resemblance to Pearl—the elderly farm owner—by yearning to be a star, Maxine kills Pearl and drives away from the farm. ScreenRant says that “As her friends are killed off in increasingly creative ways, Maxine emerges as the film's Final Girl.”.[33]

Being the estranged daughter of the late Billy Loomis, Samantha Carpenter (from Scream (2022)) becomes the new target of the new generation of Ghostface killers. Throughout the film, it is revealed that she has been haunted by her father's past and struggles with the legacy he left behind. Her survival and eventual triumph over the killers further subverts the traditional Final Girl trope, as she is not presented as a purely innocent or virginal character. Instead, she is a "flawed and complex individual who is ultimately able to use her past trauma and inner strength to overcome the killers".[34] [35]