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Monsters in modern culture
Monsters in modern culture
Monsters in modern culture
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Why Modern Monsters Have Become Alien to Us
Late autumn has arrived and with it comes the dark magic of Halloween--and, of course, the
murky thrill of monsters. Yet our appetite for a good monster knows no season. Ever since ancient
times we have been fascinated with all sorts of tales about monsters and intrigued by myths and
legends about those wild half-human beasts who haunt the edges of our forests and lurk in the
recesses of our oceans. The sphinxes, minotaurs, and sirens of early mythology gave way to Beowulf's
Grendel and Saint George's dragon, then to the mermaids, trolls, and one-eyed giants of our fairy and
folk tales, and finally to those 19th-century Gothic classics. Nor are these stories on the wane, for the
monster tales that made Lon Chaney, Boris Karloff, and Bela Lugosi stars of the silver screen
continue to draw megacrowds six and seven decades later.
In 1994 Kenneth Branagh and Robert DeNiro brought us the latest reincarnation of Shelley's
story of Frankenstein's tortured creature, and Tom Cruise and Brad Pitt starred in "Interview with a
Vampire," the first installment of Ann Rice's homage to Stoker'sDracula. Meanwhile, Andrew Lloyd
Weber's musical production of Gaston Leroux's "Phantom of the Opera" continues to pack in
audiences from London to L.A.
Much of the initial appeal of monster stories comes from the fact that they, like their twisted
siblings, "creature features" and "slashers," both terrify and fascinate us with their ghoulish brand of
horror. It's the rattling-the-tiger's-cage kind of thrill that Scout and Jim Finch got from sneaking onto
Boo Radley's porch under a pale moon. Reading or watching great monster stories, we get to
accompany the frightened heroes or heroines as they descend into the dragon's lair; crane our necks
over the tops of books or movie seats and peek into the dank recesses of the giant cyclops' cave;
stretch out our trembling hands and actually touch the monster's reptilian scales, hairy paws, or cloven
hoofs; and then run screaming like a banshee the instant it wakes from its slumber. What a rush!
As frightening as these creatures are, in monster stories it is always the beast that ends up taking
the fall, which means that this is a place where we not only get to tangle with evil's most daunting and
dangerous minions but to vanquish them with regularity. Pretty heady stuff.
In society, there have always been different roles in defining the boundaries between right and wrong; Monsters take a big part of that role. In Jeffrey Cohen’s “Monster Culture,” Cohen explains seven theses which provide a clearer explanation of how monsters take a part in establishing these boundaries. The oldest Anglo-Saxon story written- “Beowulf”- provides three different monsters which all connect to Cohen’s seven theses. In the older version, however, the monsters do not relate to humans in any way, except that they are enemies. The modern version of Beowulf portrays Grendel’s mother to still be evil but also have relations with the humans in the story.
Monsters are symbols and representations of a culture. They exist because of certain places or feelings of a time period. Monsters are “an embodiment of a certain cultural moment”. Author of Grendel, John Gardner, and author of Frankenstein, Mary Shelley, both create a monster to represent something larger than itself in order to have the reader reflect on their “fears, desires, anxiety, and fantasy” in society, which is explained in Jefferey Cohen's Monster Culture (Seven Theses). The latest trend in monster media, zombies, also fit into Cohen's theses on what a monster is.
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
In order to scare us, books, movies, and television shows will take the most ordinary things and make it into a monster. For instance, the movie IT takes a clown and turns it into
“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.
In the diverse categories of monsters, there are specific types of monsters which are “cursed by a bite”—Vampires, Zombies and Werewolves (Kaplan 2012: 136). Perhaps vampires are the most interesting of all. They have been around for centuries. From Dracula (Stoker 1897) to Twilight (Meyer 2005), vampire culture has seduced fiction lovers all over the world. Before vampire`s otherness in the 19th century renders vampirism a terrifying threat, but late 20th century America finds itself in a mood to perceive otherness as attractive. (Milly 2005).
When understanding monsters and their culture it is necessary to understand the “Seven Theses” authored by Jerry Jerome Cohen. We understand that monsters are the example of a cultural moment. They are used to warn us, and reveal to us. Monsters can have the ability to escape or disappear if necessary, we often read about them reappearing in other areas. Based off of the idea of monster withholding the ability to escape this leads us to having difficulty when trying to organize or group them. Monsters are also classified as boundary dwellers and avoid mobility. While we may spend a large amount of time trying to escape the fear of monsters they could also serve as something we desire. With that being said as far as we think we are pushing the monsters away they are said to always return. Cohen’s thesis introducing the idea that the monsters body is a cultural movement follows accordingly with the story of La Llorona and her struggle to fight the desire she holds for the man who breaks her heart, and acts as a guide to others as they avoid going down the same path.
Over the past several hundred years, werewolves have been an important part of Western Cultures. Werewolves have appeared in blockbuster movies and been the subject of countless books and stories. Werewolves are dark and powerful creatures that terrify us on multiple levels. While they are some of the most violent and merciless monsters that horror has to offer, there is something about the werewolf that we can identify with. Not only can we identify with the characters afflicted with the curse, but we can also identify that the werewolf is a beast and an evil force. The werewolf symbolizes the evil that is contained within us all. In this paper, I will explain the different evils that werewolves symbolize by taking a critical look at the real life history of the werewolf, the werewolf in literature and film, and the opinions of experts on the topic.
The concept of the beast creates fear amongst the children. With their imagination children fear that the beast is out to get them, when in reality the beast is non-existent. This fear of the unknown
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 to. We live in a world where people who know the truth are sworn to secrecy, and those who 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.
Society is formed around monsters. Whether it is acknowledged or not, monsters shape the world’s perception – the world’s views on right and wrong. Without monsters, there would be no limits, bounds, or guidelines for the decent and indecent, the good and bad. Monsters, whatever their literal forms, are considered a stain on society – something “bad” to be covered up, cleaned up, or disposed of – like dirt.
What makes a good horror story and why do we love them? It shouldn’t be natural for us to be drawn to the terrifying world of monster fiction, we should cower and run from it, right? A great monster story utilizes the elements of fear, obsession, power and mystery while drawing parallels to real world demons to give us the heart pounding adrenaline rush we desire to keep us coming back.
We went without new “monsters” for some time, before they began to be recycled, with twists. Instead monsters were humans without affect, without boundaries, without human feelings, psychopaths and sociopaths, killers without remorse, brutal murderers who fit in and appeared to be “normal”: the monster within (Think Hannibal Lector, the boy-next-door character in American Psycho, the female murderer in the 2003 film Monster, which is in part an ironic title. Charlize Theron won the best actress Oscar for her
The inhumane actions or atrocities that the monster commits truly distinguishes them from just a being making a bad decision. The perfect monster should be homicidal and spare no life. This act of taking a life is one the most famous and notable action of a monster. This is because we as humans see this as wrong and as a heinous crime. However the monster shouldn’t just kill one class or group of people because that will allow the audience that is not in this class or group to disconnect from the story due to the fact that they would be safe from this monster. Another crucial attribute of a perfect beast is to be slow or deliberate in their actions. This builds up the suspense and the scare from the audience because they are just waiting for the monster to act and waiting gives more time for images and ideas to plant themselves into the head of the audience driving them insane and making them anxious. Maybe the most important action of a monster is that it should always be right around the corner or right in the place where the characters think they are safest. Taking away the idea of a safe place like in a bed under the covers makes the monster completely in control and on a psychological level above the characters. Also this will forever implant a picture of the monster in the head of the audience when they go to this place. On top of always being there the monster should only
Generally when people think of monsters all they think about are some scaly, or hairy, or just big some big scary monster. But actually spending some time with said monsters start to discover a bigger meaning of these monsters. You see a monsters isn't just made off the top of someones head it is actually thought about like what features it will include. For example the makers of horror film monsters have to think about things like what audience are they making this monster for or what kind of features will the monster have to have to scare this audience.