"If the slasher film is 'on the face of it' a genre with at least a strong female presence, it is in these figurative readings a thoroughly male exercise, one that finally has very little to do with femaleness and very much to do with phallocentrism. Figuratively seen, the Final Girl is a male surrogate in things oedipal, a homoerotic stand-in, the audience incorporate; to the extent she means 'girl' at all, it is only for purposes of signifying male lack, and even that meaning is nullified in the final scenes. Our initial question – how to square a female victim-hero with a largely male audience–is not so much answered as it is obviated in these readings. The Final Girl is (apparently) female not despite the maleness of the audience, but precisely because of it. The discourse is wholly masculine, and females figure in it only insofar as they 'read' some aspect of the male experience. To applaud the Final Girl as a feminist development, as some review of Aliens have done with Ripley, is, in light of her figurative meaning, a particularly grotesque expression of wishful thinking. She is simply an agreed-upon fiction and the male viewer's use of her as a vehicle for his own sadomasochistic fantasies an act of perhaps timeless dishonesty."
–Men, Women, and Chainsaws: Gender in the Modern Horror Film. Carol J. Clover. 1992.