In this thesis will be presented the development and key concepts of feminist film theory, and the influence of ideas about the unfavorable position of females on the critique of an American horror films. Taking into account the fact that feminist film theory in it's analyses relies on fields that are not characteristic to it (eg. semiotics, psychoanalysis, post-structuralism, marxism and others), the understanding of the field is often complex, and it's theoretical base and influences wide. Thithero this thesis will focus only on the key figures and the historical context that served the occurrence of the first feminist theories. Because of a common film critique attitude that claims the narative of the film to be correspondent to realistic social norms of a period, the importance of female characters and the deconstruction of female characters will be stressed. Feminist theory usually unanimously advocates the thesis that female characters are represented as passive objects of the male gaze thus placing men in a privileged position and correspondingly giving only them the possibility of identification through films. According to that view, diverse audiences ultimately perceive films through a homogeneous, male perspective. Many theorists consider this to be the reason that the heterosexual males are the targeted film audience, especially in the case of horror movies. Accordingly, female characters become objects or commodities used to sell the films to men, and are increasingly hypersexualized, fethishised and objectified to make the selling effect bigger.