Molly Childree Fleischbein EH 102.147 Draft February 5,2018 Our world is full of monsters, some imaginary, but most are legitimate and terrifying. In his text “Monster Culture (Seven Theses)”, Jeffery Jerome Cohen examines the use of monsters in literate and cinema. Cohen makes the claim that the use of monsters, historically and presently, in forms of entertainment symbolizes more than just the fear they instill in audiences. A monster is no longer just a monster.
When we think of monsters our minds tend to veer toward the direction of a supernatural creature who lives in a evil dark lair. We instantly think this because of how today 's media portray them. We recognize them as evil, greedy, scary, and deceitful. Because of their dark behavior we instantly think of the darkest place they could possibly live or come from. From movies to books monsters are bigger and badder than everyone.
For centuries stories have been told about monsters. Stories that include monsters themselves as the main character, and stories that include a battle between a heroic figure and the monster to represent good vs. evil. The root word for “monster” is “monstrum”, which means that which reveals or warns. A monster is the product or symbol of a culture from which the monster comes from. They are more than their physical body and entertainment value that plays into these stories of the monstrous figure we read about or watch in movies or television.
Creatures that lurk in the dark, possess immortality, and prey on fear or lust, have been popular within the writing, cinema, and play industries for quite some time. In both “Our Zombies, Ourselves” by James Parker, and “Vampires Never Die” by Guillermo Del Toro and Chuck Hogan, the popularity of both Vampires and Zombies is brought to light. As for which is most popular, that is left to the reader or moviegoer; some would say zombies, while others would root for the vampire. Regardless of popularity, both zombies and vampires remain embedded in pop culture as a way for people to escape reality, while allowing their imagination to ask the question, where and how each pandemic started. Both zombies and vampires started out as characters in the minds of storytellers, and have developed over time with the help of technology, science, and the human’s deep seated need to escape reality.
Death, it 's everywhere. It 's part of life, and it happens every day all around the world. Death is the black hole that threatens to consume us. In the book, The Machine Of Death is a fictional machine that tells people how they 're going to die. The question is should mankind allow this machine to come to life?
Just as mentioned before in Mary Shelley’s days, scientists believed that someday they would be able to reanimate corpses, so although Frankenstein’s ‘mad scientist’ studies, examinations and experiments seem to be intense, Shelley, even if just loosely, based them on some of the scientific debates and discoveries. Her main influencer being Charles Darwin’s grandfather Erasmus Darwin and Luigi Galvani. Back then, it was not uncommon to share scientific ideas in poem form, which is why Darwin published a poem called “The Temple of Nature”.
Monsters come in many forms. Monsters could be what people sees as villains in movies, scary Halloween pictures or simply the “creatures of the night. The word “monster” became a way of explaining the seemingly inexplicable. People create and ascribe meaning to monsters, endowing them with characteristics derived from their most deep-seated fears and taboos. In David Mill’s story, Derealization, the monster motif is used to encompass a bigger idea that the monsters that the readers are afraid are the ones that actually lies within their true
Monster Culture Jeffrey Jerome Cohen is the writer of “Monster Culture: Seven Theses.” He went to the University of Rochester and acquired a PhD in English and has been teaching at George Washington University since 1994. The intended audience of this essay is anybody interested in the monster culture. This essay came from Monster Theory: Reading Culture.
Michael Moore, in his famous documentary, Sicko, exposes the flaws in the American Healthcare System. Moore, a renowned documentary maker and extreme leftist, attempts to persuade his American audience for universal Healthcare. The American system is perceived as being outdated, unfair, and unjust; whilst, in other countries, including Cuba, universal Healthcare allows free, equal service for all. Moore presents these claims in order to persuade Americans with healthcare that the system they concede to, is corrupt. He pushes his audience into feeling guilty for their own good fortune, in the hope that they will bring change.
Monsters that resemble familial bodies receive our attention through appearing as a construct of both, the understood and unthinkable, commanding to be seen. This existence demands the participation of the audience to define and categorise what it is to be normal, suggesting that the image of the monster is never fixed; constantly evolving through interpretation. When considering the monstrous within the Middle Ages, this is best represented in the depiction of the Sheela-na-gig that exist today often eroded or decayed due to the excess of human touch. The utmost importance of this source is that it reveals an audience desired contact and domestication of the obscene which may or may not have occurred in the medieval period. When scholars interpret the Sheela-na-gig to be representative of the offensive, analysis is thus partly superficial as it deals with investing their own narrative within an imperfect material.