On the most basic levels, it has been established that horror films are saturated in repetitive storytelling loops. And, it has also been shown that within the horror genre we have an important showcase to examine important psychosexual issues. What we have here seems to be somewhat of a lost opportunity. Horror, as a genre, is concerned with exploring fascinating psychological, physiological and pathological avenues of human sexuality, while the actual products of this genre (re: the filmic texts themselves) are repetitive and often exploitative while rarely taking advantage of the seemingly endless psychosexual reservoir of possible themes. However, when Canadian horror films are examined, the opportunity appears to be somewhat recovered. David Cronenberg's Rabid (1976) and The Brood (1979) and director John Fawcett and writer Karen Walton's Ginger Snaps (2000), all Canadian horror films, are subversive examples of the horror film and all three films take extensive advantage of Hogan's reading of horror films as complex and meaningful cultural texts. And, when examined in tandem, these three films offer an interesting analysis in terms of the horror clichés, female as monster and female sexuality as dangerous. What follows is a brief analysis of the subversive nature of these two Cronenberg horror texts and a close analysis of Ginger Snaps. Cronenberg's oeuvre has been studied and deconstructed at length by other scholars, so the analysis of those two films will act as a jumping-off point and will establish significant recurring themes for the closer look at Ginger Snaps (which has been almost completely ignored in terms of critical and theoretical analysis thus far).