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How television influences the viewer
How television influences the viewer
Film analysis silence of the lambs
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The monster Hannibal Lecter can be summed up in one quote from Thomas Harris’ fourth novel, Hannibal Rising: “I don’t want a conviction, I want him declared insane. In an asylum, they can study him and try to find out what he is…. What is he now? There is not a word for it yet. For lack of a better word we’ll call him a monster” (Harris 283). From early in Dr. Hannibal Lecter’s life, it was clear that he was a monster. The film, The Silence of the Lambs, is one of those films that is a cornerstone to a generation of filmmakers and the movie industry itself. It redefined the horror genre with new types of fears that plagued the every day person rather than a specific market like teenagers, in the previous famous horror films. Leading the way for the movie is the monster, and one of the main characters, Hannibal Lecter. Lecter is a monster like no other and also redefined what movie monsters were. Gone are the masked men with chainsaws, now Lecter brings forth a new type of monster that is intelligent, clever, but above all, human. The film itself presents a complex to the viewers because of the fact that Lecter is helping the FBI in its search for another serial killer, Buffalo Bill. Lecter is unlike any other movie monster in the way that he kills his victims. Lecter’s nickname is “Hannibal the Cannibal” because he cooks and eats his victims. He has also become a great example to psychologists treating people with similar problems. Above all, Lecter is unique because he is the first monster to take the mask off and have the people around him face who he really is, a true monster.
The genesis of the monster of Hannibal Lecter was a mystery. Not until the most recent film, Hannibal Rising, a prequel to the other four films, does th...
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"Dreams of Hannibal Lecter." The Dominion (Wellington). (June 16, 1999 , Wednesday ): 708 words. LexisNexis Academic. Web. Date Accessed: 2013/04/01.
Silence of the Lambs. Dir. Jonathan Demme. Screenplay by Ted Tally. By Thomas Harris. Perf. Anthony Hopkins and Jodi Foster. Strong Heart/Demme Production, 1991. DVD.
Harris, Thomas. Hannibal Rising. New York: Delacorte, 2006. Print.
Hannibal Rising. Dir. Peter Webber. Screenplay by Thomas Harris. By Thomas Harris. Perf. Gaspard Ulliel, Gong Li, Rhys Ifans, and Dominic West. The Weinstein Company. 2007 DVD
“The origins of Lecter's taste for the butcher." Business Day (South Africa). (December 16, 2006): 761 words. LexisNexis Academic. Web. Date Accessed: 2013/04/21.
"Lecter's great escape." The Irish Times. (December 23, 2006 Saturday ): 965 words. LexisNexis Academic. Web. Date Accessed: 2013/04/01.
For my book talk assignment I read a realistic fiction novel named “Monster” by Walter Dean Myers.
Smith, Helmut Walser. The Butcher’s Tale. New York & London: Norton W.W. Norton & Company. 2002.
Monsters and the Moral Imagination, written by Stephen Asma, presents many possible outcomes as to why monsters are the rise. Mr. Asma discusses why monster portrayals could be on the rise in movies, books, and stories throughout his subsection Monsters are on the Rise. Perhaps the rise is due to traumatic events in recent history such as the holocaust or the terroristic attacks of 9/11 in
Frankenstein’s creature, the concept way ahead of its time but a terrifying thought to its first audiences.
Natural Born Killers. Dir. Oliver Stone. With Woody Harrelson, Juliette Lewis, Tommy Lee Jones, and Robert Downy Jr. Warner Bros., 1994.
Frankenstein has become a symbol in contemporary society. Upon hearing the name, one might imagine a tall, muscular green man with short black hair, a flat head, and two bolts pierced on both sides of his neck. Although that is the Frankenstein present now, the modern Frankenstein is only an adaptation of Mary Shelley’s original creature. Shelley’s Frankenstein, 1818, is a gothic novel in which she tells the tale of a man creating life. This creation of Victor Frankenstein’s monster eventually hurt the people he held dear. Following the popularity of the book, James Whale directed Frankenstein, in 1931, which started the movement of Frankenstein’s contemporary image. While in comparison to the novel’s questionable identity of the monster, Whale’s adaptation addresses the creation as the true monster. Whale is able to accomplish his reanimated version of the original creation through a series of drastically different aspects involving both personality and appearance in his cinematic production. Whale’s monster lacks the human appeal of Shelley’s creation through his motivation of his transgressions, lack of speech and physical appearance.
Before the monster was created, monstrosity was showed through Victor. Although Victor claims he decided to create ...
When Victor goes to college and his interest in science and nature grows, his curiosity to find the secret of immortality causes him to want to create a creature and bring it to life. Victor starts to create his unnatural work hoping that it will bring success in the future, “I prepared myself for a multitude of reverses; my operations might be incessantly baffled, and at last my work be imperfect, yet when I considered the improvement which every day takes place in science and mechanics, I was encouraged to hope my present attempts would at least lay the foundations of future success.” (43). Victor states his concerns about what he plans to do but dismisses them based on the importance he places on his work. For that reason, he starts to meddle with nature to create something no one can do but God. Finally, when Victor completes his creation, the monster, he realizes that he has made a serious mistake by interfering with nature, “I had desired it with an ardour that far exceeded moderation; but now that I had finished, the beauty of the dream vanished, and breathless horror and disgust filled my heart.” (47). He thinks he has achieved this beautiful dream of creating a life, but now that he has, all he can see is an ugly monster. Trying to take on divine creation fails and instead of beauty, all Victor can create is something horrifying. Therefore, disrupting with nature is a trait that proves Victor is the true monster because it is a limit that no human should overstep. Eventually, it will come to a miserable
In the book, the reader comes to find that Victor Frankenstein emulates this human nature, to betray. Victor shows his betrayal by creating life out of death, and by leaving his creation as soon as it is brought into the world- just for being displeasing to the eye. Although the Monster was considered the pinnacle of betrayal, the real monster was Victor Frankenstein himself, and the human nature that he universally
Eternal Sunshine of the Spotless Mind. Dir. Michel Gondry. Perf. Jim Carrey, Kate Winslet. Focus Features, 2004. DVD.
The origin of Frankenstein is almost as mysterious and exciting as the novel itself. It all began back in the summer of 1816 at the Villa Diodati on the shores of Lake Geneva, Switzerland. Mary Shelley seems not to condemn the act of creation but rather Frankenstein’s lack of willingness to accept the responsibility for his deeds. His creation only becomes a monster at the moment his creator deserts it. Essentially, Frankenstein warns of the careless use of science which is still an important issue.
Throughout Mary Shelley’s Frankenstein, the reader is lead to sympathize with the monstrous creature, which was created by Victor Frankenstein. Despite any internal contradictions, the creature has the indisputable outward appearance of a monster, one repulsive to even his own creator. Inevitably, the appearance becomes the creature’s most significant quality, which eliminates any recognition of other, more human, qualities. As a result, any possibility of acceptance within human society are completely destroyed. The creature himself even recognizes this fact. Expressing many human qualities, such rejection and the consequential loneliness has a tremendous impact on the creature, especially in the impressionable years after his initial animation. With the psychological effects caused by these factors, the creature is sent on a rampage, causing tragedy throughout the course of the novel. Many may question Victor’s culpability and lack of responsibility over his creation; however, the ultimate blame for the events must be placed while considering the situation on a larger scale. Without a structured beginning to life, the creature is subjected to the harsh society around him, whose reactions only lead the creature to exile and psychological torment, justifying his wrongful actions.
...others who live transient lifestyles. Typical psychopathic serial killers are not as intelligent as Hannibal himself. He had an unusual gift; he used his senses to be able to remember scents, sights, and details. He also had the ability to break a person down to their weakness, which is how he was able to get them off guard. He dehumanized his victim’s, flattened them to worthless objects in his mind.
The Hunger Games. Dir. Gary Ross. Perf. Jennifer Lawrence and Josh Hutcherson. Lionsgate, 2012. DVD.
Dir. Steven Spielberg. By Brian Aldiss. Perf. Haley, Joel Osment and Jude Law.