This paper explores the use of acousmatic voices in a selection of teen slashers. Coined by Michel Chion (1982), the concept of the acousmatic voice refers to a voice which is heard but whose causeor origin is not visible within the frame of the cinematic image. In horror films, such voices are often used to create suspense by setting the stage for an unknown and potentially dangerous individual lurking somewhere off-screen. This paper will argue, however, that within the genre of the teen slasher, acousmatic voices also serve as focal points through which a variety of cultural anxieties are reflected and explored. Building on an analysis of Black Christmas (1974), and the link therein between the acousmatic voice of the killer and the intermingling of technophobia and sexual difference, this paper will investigate the narrative function and thematic impact of acousmatic voices in Wes Craven’s Scream trilogy (1996-2001). It does so with the intent of clarifying how the use of acousmatic voices in these films compare to that of Black Christmas, particularly in relation to the interrelated issues of gender and technophobia. While arguing that the destabilization of established gender roles following 1970s second wave feminism is key to understanding the use of acousmatic voices in Black Christmas, this paper will explore to what extent Craven’s late 1990s instantiations of the teen slasher genre engage with similar issues and concerns, if at all.