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Monsters analysis essay
Monsters analysis essay
An analysis of horror
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“This thing - It’s gonna follow you. Somebody gave it to me, and I passed it to you...It could look like someone you know, or it could be a stranger in a crowd. Whatever helps it get close to you.” In this spine-chilling description of the monster in It Follows, the evil entity is forewarn as a relentless threat, capable of whatever means to claim its victim. It Follows is a psychological horror film about a sexually transmitted curse; the curse itself is the entity hellbent on claiming its victims. The monster strikes fear into its victims by its unpredictable shapeshifting ability and its sadistic decision making. Because of the monster’s ability to shapeshift and make sadistic decisions, It Follows is a successfully scary psychological horror …show more content…
Able to shapeshift into any age, sex, and stature, the monster is able to take on one form one instance and a totally different form the next. This unpredictability leaves its victims in constant fear of the monster’s next appearance. For example, the first reveal of the monster in It Follows depicts the entity as a nude, brunette woman covered in bruises and cuts. To Jay, the movie’s protagonist, this depiction is of an appalling stranger. For a first impression, the monster remains as a battered young woman in Jay’s mind. However, that assumed form is disregarded by the monster’s next appearance. Later shapeshifting into an gangly, dark-haired Caucasian man, the monster appears as having sunken, blackened eyes and flaky, peeling skin. This new form is a shockingly far cry from it’s initial appearance, which leaves Jay in a state of bewilderment. Aside from appearing as a stranger, the monster later takes on a familiar face. The monster shapeshifts into Jay’s best friend, Yara, who is petite, auburn-haired teen girl that wears glasses and has many freckles. At first sight, Jay falls for the monster’s deception. One she notices the nonverbal Yara was just a clever copycat, she realizes the monster nearly outsmarted her. By this
I recently read a book called Monster by Walter Dean Myers, in which a sixteen year-old boy named Steve Harmon was arrested for being accused of shooting a drugstore owner, and watched a documentary titled Murder on a Sunday Morning about a fifteen year-old Brenton Butler being charged with murdering a woman at a motel. I found that the book and the documentary had many similarities and differences. I thought this because both cases are about a young African-American boy who is in custody for something that they did not do. Both police investigations didn't go thoroughly and just rushed through to arrest the boys immediately and are centered around a white defense attorney who tries to convince the jury that the male teen did not committed the crime by giving out evidence.
If someone had previous knowledge of a crime, are they just as guilty for not reporting that a crime was going to happen as the person(s) that actually perpetrated the crime? This question was a major point of discussion and the major driver of the plot in the book Monster by Walter Dean Myers. In this book, 16 year old Steve Harmon is being tried for felony murder for participating in a robbery perpetrated by James King, Bobo Evans, and Osvaldo Cruz that ended in the death a Alguinaldo Nesbitt. Although the jury found Harmon innocent in the end, the readers still learn that Steve knew that a robbery was going to happen. Also, scattered throughout the book were bits of evidence that alluded to Steve’s involvement in the robbery. Therefore,
Victor animated the creature from dead body parts, effecting his creature’s appearance when he came alive. He couldn’t even look at his creation, and thought that it was malodorous, without thinking how unwanted and helpless the creature feels. With little hope for the creature because of his unappealing appearance, Victor does not bothering to wait and see if he has a good interior or not. As a result of Victor not taking responsibility, the monster decides to take revenge. The monster is repeatedly denied love and deals with the loneliness the only way that he can, revenge, killing Victor’s loved ones making him lonely just like
Although it is the same monster we see in the previous film, more depth is added to the character. The first major breakthrough for the monster was the scene he encounters the blind man. This is the first time we see him be kind. The air between the two is light and friendly, creating hope for the monster. They even solidify themselves as friends, the first big stepping stone to the transformation of the monster we soon will see. Another big plot revolves around the monsters want for someone “like him”. This suggests deep down in that conscious of his, he has realized how different, and unaccepted, he truly is. When he finally gets his wish, he soon realizes it was never meant to be. Another big breakthrough for the development of his conscious. He makes the courageous, even humane, decision to end both of their lives. The monster knows they were never meant to live, because death was always their calling. We even catch a glimpse of a lone tear stream down his cheek because of his valiant
To sacrifice oneself and save others is what we've known as human love, and we have also learned that we should respect those who could perform that in any situation, but in reality, the numbers of those people who don't care about what others do seems much greater than the number of those who do. In Stephen Crane's story, "The Monsters", Henry Johnson who sacrifices himself into the fire in order to save a little boy gets treated like a monster just because his face has "burned away"(84). This is very serious problem because it's not what happens only in the book, but also in our present lives.
“You’ve just crossed over into The Twilight Zone” says Rod Serling before every episode of The Twilight Zone. A show that leaves it’s viewers in a macabre state. Instead of drawing a conclusion like most shows, the show usually ends mysteriously. It utilizes similar elements as other short half-hour shows, but goes about it in a different way. This outlandish style is seen in literature, more specifically short stories, as well. Even though other short stories employ the same literary devices, “The Beast In The Cave” by H.P. Lovecraft is uniquely mysterious because of the story’s suspenseful plot, compelling diction, and, most important, overshadowing theme.
Isolation has made the monster feel alone and like an outcast. The isolation of the monster has the negative effect of making him lonely and in need of a companion. The monster finds Victor and demands that he build another monster for the monster to be a companion with, or an “Eve”. After Victor says yes and then changes his mind and says no, the monster casts revenge on Victor.
In the book Monster, we see the story of an eleven year African American boy known as Kody Scott get involved in the world of gang violence. Kody had been living in South Central Los Angeles all of his life, he grew up on Florence and Normandie. Kody was learning about gang life before he was even in a gang. The book starts with Kody graduating sixth grade, he is really excited because it is the day he will be initiated into a neighborhood gang, the Tray Eights, which is part of the Crips. Weeks before his graduation Kody felt proud of himself because he had flashed a gang sign in a school photo. His first initiation to become a member of the Crips was to kill someone from their rival group. Kody learned that a gang was for life and that killing the enemy was an act of survival. With the years, Kody builds up his name as Monster by killing people without remorse. Kody’s only aspiration in life was to become an OG gangster.
Peter Brooks' essay "What Is a Monster" tackles many complex ideas within Mary Shelley's Frankenstein, and the main concept that is the title of the essay itself. What is the definition of a monster, or to be monstrous? Is a monster the classic representation we know, green skin, neck bolts, grunting and groaning? A cartoon wishing to deliver sugary cereal? or someone we dislike so greatly their qualities invade our language and affect our interpretation of their image and physical being? Brooks' essay approaches this question by using Shelley's narrative structure to examine how language, not nature, is mainly accountable for creating the idea of the monstrous body.
Monsters are the physical embodiment of fear. Monsters are the physical embodiment due to a wide variety of reasons. The most important being: Monsters’ apparent invulnerability/incredible strength, represent the bad part of society, most often look ugly, represent evil/nightmares itself, are intelligent, and some deviate from the norms are the reasons why monsters are the physical embodiment of fear. Monsters’ incredible characteristics are what strike fear into the hearts of others. In many myths, monsters are a weakness to societies. For instance, the heroes of Rome fight these monsters in order to overcome them which is the symbolic overcoming of weakness by the community. The fear monsters represent is primarily human fear as monsters are generally on good terms with animals and human fear is far deeper than animal fear.
The Monster’s confusion about the world and his inability to understand why he cannot simply be accepted in society drives his actions. Dutoit elaborates on the not so apparent truth that The Monster goes to great lengths to assimilate by acquiring language, understanding mannerisms and participating in customs. The Monster grows fond of a family, at first he watches them carefully, paying close attention to the details of their life and even steals food, unaware of their poverty. Supporting evidence which allows for the conclusion that he is innately good and simply longing for domesticity is shown by The Monsters willingness to help the family with chores, in secret of course. Nevertheless, he is universally shunned by everyone he encounters, except for the old blind man who was willing to have a social connection with him, until his family returned home and in fear rebelled against The Monster. This constant exile only leads to a greater alienation from the social world he deeply longs to be a part of. Unfortunately, due to his outward appearance, his good intentions are ill received by the people he
Kody Scott, also known as “Monster” for his viciousness in beating of a man and further crimes, forms a realistic and brutal picture of gang violence in America. Throughout his story, Scott views his gang participation as the only viable means of survival. Killing is done through the necessity to promote oneself in order to become an O.G., or Original Gangster, the pinnacle of gang member status and achievement. The urge to become an O.G. seems to be paramount in Scott's eyes, and he outlines his plan: first he must build his reputation, then his influence as part of his set, and finally as a “promoter” of the Crips (Shakur, 1993, pp. 14-15). By age eleven Scott's sole desire is to become a gang member of his local set, the Eight Trays. He disregards education, at one point stating how he paid no attention to his middle school teacher, focusing only on the streets and his “homeboys” as source of lifestyle and adventure (Shakur, 1993, pp. 3-4). He clearly reaches his goal, putting the entirety of his mental and physical being into being a gangster, even though it leads him to a life wreaked by violence and prison sentences.
Horror films are designed to frighten the audience and engage them in their worst fears, while captivating and entertaining at the same time. Horror films often center on the darker side of life, on what is forbidden and strange. These films play with society’s fears, its nightmare’s and vulnerability, the terror of the unknown, the fear of death, the loss of identity, and the fear of sexuality. Horror films are generally set in spooky old mansions, fog-ridden areas, or dark locales with unknown human, supernatural or grotesque creatures lurking about. These creatures can range from vampires, madmen, devils, unfriendly ghosts, monsters, mad scientists, demons, zombies, evil spirits, satanic villains, the possessed, werewolves and freaks to the unseen and even the mere presence of evil.
common conventions of the horror genre. It thrusts us into the life of Michael Myers, an
We live in a world where creatures have abilities that can blow our minds, however we are ignorant of this. We live in a world where a constant power struggle is occurring between these secret species, a struggle that most human beings have no inclination of. We live in a world where people who know the truth are sworn to secrecy, and those proclaim this truth are considered crazy and locked away; to be sane is to be ignorant. Well, that is what I would love to be true. In actuality, I am fascinated with the topic of monsters; I love them all: lycanthropes, Frankenstein’s monster, witches, fae, necromancers, zombies, demons, mummies, and my favorite: vampires. This fetish has been manifested in the movies I view, the televisions shows I watch, and the books I read. When my obsession with reading is crossed with my obsession with monsters the result is a bookshelf containing more vampire novels than most people would consider healthy. I have discovered that every vampire novel varies vastly; no two books are ever alike. For example, the Twilight Series, the Anita Blake Series and the Vampire Chronicles Series have different legends and lore, different relationships between vampires and society, and different genres, theme, and purpose; this array of novels display most clearly the range of audience for vampire genre can cater.