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Media impact on public opinion
Media influence on society perceptions
Media influence on society perceptions
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Published 24 November, 1888 in London, ‘The Whitechapel Monster’ is a large, elaborately illustrated ephemera that appeared in The Illustrated Police News, a weekly newspaper that is noted as one of the earliest British tabloids. The page, which is covered in crosshatched illustrations depicting melodramatic and lurid scenes, even goes as far to feature prominent sketches of this Whitechapel Monster, otherwise known as Jack the Ripper. Along with these sketches of the Ripper at work, it also features portraits of inspectors and witnesses. This image undoubtedly was made not just for the sole purpose of informing the people, but to also inspire fear and cause more interest in the Whitechapel Murders (1888-1891). This very in-depth illustrated page from The Illustrated Police News is currently held by the British Library, and …show more content…
As the shelfmark subsequently describes, the ‘confident’ illustration contradicts the fact that the London police investigated and detained numerous suspects only a month before this final killing. It should be noted that the illustration depicts the killer as an average citizen of apparent good repute, rather than an unsightly and animalistic creature—which seemed common at the time, as apparently most tabloids had been doing so before this. This style of illustrating the Ripper as a mundane gentleman seemed to inspire more fear, creating paranoia amongst the classes of late Victorian London. Furthermore, the shelfmark continues to explain that this notion of the killer’s success being in his ability to blend in with society and lead a double life had been ‘popularised’ by the 1886 novel by Robert Louis Stephenson, the Strange Case of Dr Jekyll and Mr
Roylott had used his time to manipulate his passion for Indian animals as an excuse to “lock doors” during the night so there was no evidence of a forced break – in, which would drive him far from the involvement of murder. He had deliberately secluded the ancestral house with “blotched windows” etc, which constructed a perfect crime scene to leave its victim vulnerable; a truly sinister and stereotypical villain. Both stories enable viewers to establish a connection between stereotypical villains from their devious murders, and how the writers have conveyed it through their writing techniques. These stories relate to us in modern society, how and why murders happen and are contemplated, which all reflects the demonstration of villainy.
The life experiences and writings of the Victorians are peppered with anxiety. External influences such as sweeping change or fear of change can produce unease, as seen in the their anxious attitude toward Darwinism and colonialization, which greatly influenced the political, spiritual, and psychological landscape of nineteenth century England. However, for Sir Arthur Conan Doyle's Sherlock Holmes and Robert Louis Stevenson's Dr. Jekyll, anxiety springs from an internal source: the human mind and its many urges. For Jekyll, the anxiety is fueled by a desire to set free his evil urges; for Holmes, the catalyst is his proclaimed "boredom" with everyday life. Jekyll and Holmes struggle with their separate anxieties and reach similar solutions. Both the doctor and the detective choose a drug to alleviate their anxiety. The unsuccessful outcomes that these chosen drugs produce speaks to the Victorian notion that anxiety could not be conquered. The people who lived and died under Queen Victoria not only dealt with anxiety in their own lives, but also fortified their literature with it. Doyle's The Sign of Four and Stevenson's The Strange Case of Dr. Jekyll and Mr. Hyde explore two distinct anxieties and the consequences of using drugs to alleviate them.
The analysis showed that Shirley’s and Thomas’s work matched in a way that both the stories reflect identity crises and the psyche of a killer. The notable use of typical fictional horror elements such as tragic backstories, harbingers, unseen forces causing chaos and dreadfulness, terror and above all unrealistically portrayed personality disorders makes the stories a baroque blend of supernatural fantasy and moral reality.
Written in 1818, the latter stages of the Gothic literature movement, at face value this novel embodies all the key characteristics of the Gothic genre. It features the supernatural, ghosts and an atmosphere of horror and mystery. However a closer reading of the novel presents a multifaceted tale that explores
Sherwood Anderson depicts all the characters throughout his 24 short stories as a grotesque. He prefaces most of the stories with the old writer’s definition of what it means to be a grotesque. This definition frames how the book is to be interpreted throughout the different stories. Anderson paints every character as a grotesque. However, he does not paint them in the same light. What may make one person a grotesque may not make another person a grote...
In Hitchcock’s narrative structure, he focuses on relationships. The relationship between society and their thoughts of morality, guilt and innocence. In the film, we never witness a murder, only the outcome of them. What we do see are the reactions to the killings. Every single week, the newspapers write
Although the true identity of Jack the Ripper has never been identified, experts have investigated Prince Albert Victor, Thomas Neill Cream, and Montague John Druitt as prime suspects. Based on facts and information given, the researcher found evidence that Jack the Ripper was Montague John Druitt. Druitt’s family, appearance, and suicide support the researcher’s claim. Ultimately, the obsession with the Jack the Ripper case will never perish.
Spencer, Kathleen L. Purity and Danger: Dracula, the Urban Gothic, and the Late Victorian Degeneracy Crisis. 1st ed. Vol. 59. N.p.: Johns Hopkins UP, 1992. JSTOR. Web. 6 Jan. 2014. .
Punter David, ‘The Literature of Terror’, in A History of Gothic Fictions from 1765 to the Present Day, The Modern Gothic. Harlow, eds. (UK: Pearson Education, 1996)
Baldick, Chris. In Frankenstein's Shadow: Myth, Monstrosity, and Nineteenth-Century Writing. Oxford: Oxford University Press, 1990. Print.
These two scenarios from Anglo-Saxon and modern times are similar, as well. They are similar because of the continuity of “monsters” terrorizing a society being a great influence among audiences of the past and present. The two works of both eras demonstrate the continual interest in defeating villains and “feeding” it’s listeners with tales such as these.
Spencer, Kathleen L. “Purity and Danger: Dracula, The Urban Gothic, and the Late Victorian Degeneracy Crisis.” English Literary History 59.1 (1992): 197-226
Jack the Ripper is a mythic figure comparable with Frankenstein and Dracula. The Rippers first three murdered whores, in 1888, were believed to be by the same person. These murdered victims all seemed to occur around the Parish Church of Saint Mary, also called “the White Chapel.” (Fido…1)
Stories have an opportunity to leave the reader with many different impressions. When you look a different characters within the stories the ones that leave the greatest impressions are the ones that tend to scare us. The figures in Bob Dylar’s “Where Are You Going, Where Have you been?”, in Nathaniel Hawthorne’s “Young Goodman Brown”, and Stephen King’s “The Man in the Black Suite” all instill a bit of fear in the reader. They are symbols that represent the devil or devil like attributes in people and the uncertainties of human nature.
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.