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On the surface, Jennifer Kent’s The Babadook (2014) is a horror film that uses a mythical monster to torture an already broken family. It presents the creature as a monster that one could picture originating from Grimm’s Fair Tails. Kent introduces the idea of the Babadook monster through a twisted children’s pop-up book. In the keeping with the troupes of the horror film genre, the book appears on the Samuels Vanek’s (Noah Wiseman) shelf from an unknown place. When Amelia Vanek (Essie Davis) tries to remove or dispose of the book it returns to them. As The Babadook further explores the world of Amelia and Sam, the highly inhibiting feelings of grief in Amelia are revealed. They stem from the death of her husband, Oskar Vanek (Benjamin Winspear), …show more content…
Kent cut’s to Sam looking down at Amelia’s soup bowl, following her hands movement. Sam is a pail, anxious looking boy wearing blue-grey pyjamas. His clothing matches the sad colour tones of the house. The camera cuts to the point of view from Sam watching his mother spoon soup into her mouth and then cuts to a close-up from the point of view of Amelia looking at her hand as it spoons soup out of the bowl. This close-up gives significance to the soup. Drawing our attention to the spoon that now, unknown to Amelia, holds a shard of glass on it. Kent cut’s to a mid-level two shot of Sam and Amelia sitting in the kitchen. This is a confining shot, as both people feel walled in by their surroundings. The table is black, and the wall a pale grey. The only bright objects within the shot are the bowls of soup, further emphasizing their significant roll in this scene. Traditionally kitchens are well-lit rooms, however, just like the rest of the house, it is cast in darkness and feels like it is a place of mourning. Amelia bites into something that creates a sharp diegetic cracking sound. The film cuts to a close-up of Amelia pulling something from her mouth and then a close-up point of view of her looking down at her hand. A bloody shared of glass is in her hand. Amelia pulls Sam’s soup away from him to check both bowls, but she only finds glass in her soup. Kent uses a shot reverse shot sequence between Sam and Amelia as Sam blames the Babadook for placing the glass while Amelia orders him to go watch his DVD. This is the second time the film shows shards of glass. The first time is part of the opening scene where Amelia relives the car accident that killed Oskar. Small pieces of glass, similar to what she finds in her soup, flew into her cheek during the accident. Like the glass of the car, this is the moment when Amelia’s life shattered. Amelia cannot move
Creature or Monster? How does Shelley's presentation of the Creature and Frankenstein create sympathy or horror at different stages of the novel? Who is the real monster? The novel "Frankenstein" was written by Mary Shelley as a teenager during the 19th century.
Imagine an eight-foot-tall, misshapen human child. You might complain that this is contradictory - but do it anyway. Imagine some sort of humanoid being with the mind of a human child in an eight-foot body, green with a nail in its head if you want. This is what Frankenstein's creature is. Frankenstein's creature is mentally a child, and we see its evolution through traditional child development in the course of its narrative. But the creature is the only member of its species, and therefore its narrative can be taken to represent the history of an entire species - the creature's first experiences can be viewed as an amalgam of creation myths.
This story speaks of a married woman who fell in love with a man who was not her husband. She bore this man a child and realized that she could not live without him. In the event, she decides to leave her husband to be with the child’s father. However, there is only one problem and that is that she has two other children by her husband. She has a daughter who is 9 years old and is very mature for her age, and a darling son who is 5 years old. As she leaves to restart her life again with this other man, the 5 year old son is left behind to stay with his dad, and the little girl is tragically killed by a pack of wolves. The little boy is devastated by his mom’s decision to leave him behind. He is constantly haunted by dreams and images that come to his mind surrounding his mother’s...
One of the many staples of horror fiction is the employment of a monster to aide in the fear the reader experiences. A monster gives the protagonists a tangible object to fear. When the fear is tangible the protagonists are able to be drawn into the story in a more concrete manner. The reader is also able to be included in the fear because they can get a full picture of what is scaring the main characters. Unlike ghosts or spirits, monsters provide a visual representation of the fear to be experienced. One pair of monsters stand out from the others, this is the wolfman and the werewolf. On the surface, both are seemingly the same character with a different name, but this paper is going to explore the differences between the wolfman and the werewolf as they appear in fiction and how their different manifestations relates to the characters in the story and those behind the fur. This writer believes that although there are many similarities behind the werewolf and the wolfman, there are a few differences in how the characters are portrayed. This difference is shown primarily in The Wolfman by Jonathan Maberry and The Cycle of the Werewolf by Stephen king.
Mary Shelley’s Frankenstein is a nineteenth century literary work that delves into the world of science and the plausible outcomes of morally insensitive technological research. Although the novel brings to the forefront several issues about knowledge and sublime nature, the novel mostly explores the psychological and physical journey of two complex characters. While each character exhibits several interesting traits that range from passive and contemplative to rash and impulsive, their most attractive quality is their monstrosity. Their monstrosities, however, differ in the way each of the character’s act and respond to their environment. Throughout Frankenstein, one assumes that Frankenstein’s creation is the true monster. While the creation’s actions are indeed monstrous, one must also realize that his creator, Victor Frankenstein is also a villain. His inconsiderate and selfish acts as well as his passion for science result in the death of his friend and family members and ultimately in his own demise.
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.
The Babadook is no monster or demon, but rather is a representation of Amelia’s mental illness, in this case depression due to the loss of her husband. Horror films often use monsters to portray the things in the real world that we are afraid of. Or in the words of Robin Wood, what society has a whole oppresses or represses. Mental illness throughout history has constantly been repressed by society, prompting individuals to hide or try to fight it without actually coming to an understanding of their condition. Although the Babadook is drastically different in its style and delivery from the 1970’s horror films that Wood wrote her piece, “The American Nightmare” about, the Babadook perpetuates the points made by Wood. The Babadook plays into Wood’s analysis of “otherness” or that which society cannot recognize or accept, but rather deal with it in one of two ways: either by rejecting it and if possible annihilating it, or by rendering it safe and assimilating it”(Wood, The American Nightmare, pg 27). Throughout the majority of the film, Amelia attempts to take the first road, by denying her problem, projecting it onto Sam, and then by attempting to annihilate it by killing Sam. However, the Babadook will not be so easily dealt with. The Babadook actually tells Amelia, “the more you deny me, the stronger I’ll get”. Much like mental illness, if it is left untreated or denied, the person’s
Disney and Pixar Animation Studios, amongst many other well-known animation companies, have all banned together and helped make the progression between fearful and friendly supernatural creatures a smooth transition so that children may adapt to the idea of them more easily. They helped facilitate children to the idea of friendly and relatable creatures through such films as ‘The Nightmare before Christmas (1993)’, by Disney Animation Pictures, ‘Dark Shadows (2012)’ by Warner Brothers and ‘Hotel Transylvania (2012)’ by Sony Pictures Animation. These films present supernatural creatures in a more forgiving light as opposed to the ‘Blade trilogy (1998, 2002, 2004)’ by Marvel Enterprises and ’30 Days of Night (2007) by Columbia Pictures. Disney and Pixar Animation Studios are known as a child’s production company making films that, although adults will watch and enjoy, will be primarily films for a younger audience to take joy in. ‘The Nightmare before Christmas’, was such a great hit that the generation born during the 1990’s realise it to be a classic. Disney is still managing to sell all sorts of merchandise with Jack and Sally’s faces on it. Pixar’s ‘Monsters Inc. (2001)’ was such a success that they followed it with the prequel ‘Monsters University (2013)’ several years later. The premise of monsters scaring children and hiding in their closet was debunked and spun on its head during this film, with instead making children laugh at their funny, unusual features. The crossover between the representation of fearful and friendly creatures has become more popularised to suit a wider audience; allowing it to be easier to reach more target audiences, makin...
Early in the film , a psychologist is called in to treat the troubled child :and she calmed the mother with a statement to the effect that, “ These things come and go but they are unexplainable”. This juncture of the film is a starting point for one of the central themes of the film which is : how a fragile family unit is besieged by unusual forces both natural and supernatural which breaks and possesses and unites with the morally challenged father while the mother and the child through their innocence, love, and honesty triumph over these forces.
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.
Mary Shelley’s Frankenstein or; The Modern Prometheus, published in 1818, is a product of its time. Written in a world of social, political, scientific and economic upheaval it highlights human desire to uncover the scientific secrets of our universe, yet also confirms the importance of emotions and individual relationships that define us as human, in contrast to the monstrous. Here we question what is meant by the terms ‘human’ and ‘monstrous’ as defined by the novel. Yet to fully understand how Frankenstein defines these terms we must look to the etymology of them. The novel however, defines the terms through its main characters, through the themes of language, nature versus nurture, forbidden knowledge, and the doppelganger motif. Shelley also shows us, in Frankenstein, that although juxtaposing terms, the monstrous being everything human is not, they are also intertwined, in that you can not have one without the other. There is also an overwhelming desire to know the monstrous, if only temporarily and this calls into question the influence the monstrous has on the human definition.
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.
In Frankenstein, Mary Shelley uses the motif of monstrosity to convey the theme that a person’s outward appearance is not what makes them a monster but rather their actions or inactions that classify true monstrosity. Despite the fact that the monster Victor Frankenstein creates is a literal example of monstrosity in the novel there are many parts that give meaning to monstrosity within character’s actions. Although Victor appears normal, since he is human his ambitions, secrets, selfishness, and inaction makes him a monster himself. Along with monstrous characters the pursuit of knowledge that is seen in Victor, his monster, and Walton in Frankenstein prove that knowledge can be a monstrosity. Mary Shelley’s Frankenstein is created using the life stories of different characters in the novel. The novel itself could be seen as a monster created similarly to Victor’s monster.
While young adults might do costume parties and children may wear costumes on October 31st, it is rare to see children go trick or treating or see a house decorated with Halloween decorations. While I enjoy Halloween and its myth, I grew accustomed to not celebrate it. However, when I came to Japan, I was surprised by how colorful and how fun shops decorations and designs for any kind of products would become during October as Halloween approached. The commercials of Disneyland on television would amaze me with its amazing costume design and its rapidity to adapt the park for Halloween and Christmas. Back in high school, I discovered the joy of celebrating Halloween with my friends as we wore our costumes to Japanese most famous spot during Halloween: Shibuya. The town was flooded with people, celebrating Halloween like there was no tomorrow. This year, however, as I fell ill I, unfortunately, could not go anywhere. Nonetheless, I tried to celebrate Halloween by watching one of my favorite Halloween themed animated movies: Paranorman. Released in 2012, Paranorman is a 3D stop-motion animated comedy horror movie that tells the story of Norman Babcock who is an 11-year-old boy. Norman can speak with dead but no one believes him besides his friend Neil. One day, Norman's strange uncle explains him of an important annual ritual he must do to protect the Blithe Hollow from a curse cast by a witch it doomed centuries ago. Norman agrees to cooperate, but things do not go according to plan. A magic storm of the witch menaces the town as the dead rise. With unexpected new allies, Norman struggles to save his town, only to discover the horrific truth of the