[tab] SHEBA, BABY Blaxploitation films are a type of genre that I get a kick out of. They are wild, gritty, full of nudity, and beautiful women. The last movie that checked all those boxes off was Coffy, which also starred Pam Grier (Coffy Review). It was a film full of boobs, violence and jive talking dudes getting blasted away by the righteous Pam Grier. I was hoping that the tradition would continue with Sheba, Baby, but unfortunately, Pam Grier was at a point in her career where she wanted to broaden her acting abilities and refused to do the movie if there was any nudity.
Fahrenheit 451 brilliantly illustrates a life where censorship eliminates thought provoking activities and replaces such activities with those of instant gratification. Censorship is a controversial topic that often confuses the common person. “Censorship, the suppression of words, images, or ideas that are ‘offensive,’ happens whenever some people succeed in imposing their personal political or moral values on others” (“What is Censorship” 1). Knowing the definition of censorship allows for the ability to discern suppression from the whole truth. Why censor in the first place?
For instance, the very first sentence of Hollinger’s essay starts off with this quote, “As Stephen Neale suggests, an intimate relationship seems to exist among the filmic presentation of the horror monster, the castration anxiety it evokes, and the cinematic representation of the female form.” (Hollinger pg. 243 of the Monsters book), in which she uses to intrigue the reader and to give the reader an idea about the work. Hollinger tells the reader that Neale thinks that the usual origin of a monster in a film is due to a relationship that went wrong and also claims that men are more vulnerable to certain anxieties. The placement of her reference to Neale’s essay allows the reader to conduct an idea of what the essay is going to be about and makes the reader think about what is more threatening between feminine monsters or masculine monsters. I think it was creative of her to reference a well-known philosopher and that she was able to use it to have the reader thinking about movies they’ve watched and figure out whether they’ve actually seen any movie at all with a feminine monster and if they did, then they’d compare them to the masculine monster causing the reader to think even more!
This is a handheld shot, first of this type in the film. The clear contrast from having a steadicam to which it suddenly becomes shaky, stands out and shows that we have hit the exciting incidents in the narrative plot representing that they are having troubles in their relationship. This shows the importance of film shots and their impact it can give off to the audience. From then on, the film includes more shaky handheld shots, giving not only a contrast in film shots but also their own contrast in their relationship and that they are changing. From this scene in La la land, we can perceive the theme that people change.
Jeffery Cohen has a clear opinion of this. “We distrust and loathe the monster at the same time we envy its freedom, and perhaps its sublime despair.” They are both terrifying and the heart of fantasies. This accounts for the monster’s popularity. The seventh thesis “The Monster Stands at the Threshold…of Becoming” brings attention to the fact that we are the creators of monsters. They make us question why we have created them; how we perceive the world, how we have misinterpreted so that we can reevaluate cultural assumptions about the different race, gender, sexuality.
The most outstanding example of ostracism that occurred throughout the novel is based on the monster’s physical features and structure. This is prevalent due to the fact that the moment the monster is created, Victor calls it a catastrophe and is horrified by what he has created. He explained, “The beauty of the dream vanished, and breathless horror and disgust filled my heart” (Shelley 51). When Victor uses words such as “dream vanished”, “breathless horror” and “disgust” he is showing his emotions for the
Comparing society in Beowulf and society in Frankenstein is like comparing a simple farm to the processing plant; futuristic and totally dissimilar. Although, the core ‘monsters’ are unchanged; grotesque, horrifyingly pagan-esque beings of the dark that strike terror in to the hearts of even the stoutest of fighters and the sanest of men. In the Christian and Medieval world, monsters were human beings with an unnatural birth or a birth deformity (Stitt, 2003). The term ‘monster’ derives from the Latin term ‘monere’ which means ‘To warn’ or ‘to advise’ and ‘monstrum’ which is ‘a sign or portent that disrupts the natural order as evidence of divine displeasure’. The aspect of ‘Divine Displeasure’ is attributed almost perfectly to Grendel, the monster of Beowulf and the terror of Hrothgar.
King uses horror and suspense in the short story, I am the Doorway, “beneath the bandages, my new eyes stared blindly into the darkness the bandages forced on them. They itched.” (King, Page 1). However, King uses his horror and suspense to entertain the reader instead of using his style to warn the reader. King warns the reader to entertain them because as shown by the quote, the horror element is used to have the audience to fear the monster, instead of the dystopian implications that Vonnegut warns about. Overall, Vonnegut is most effective in using his style to warn the audience as a result of his use of figurative language to reveal the dystopian elements of the society, unlike
This coincides with how the book says the primeval giants tried to plunge the world into anarchy, but were punished by getting shattered by Olympus’s thunderbolts. Last, but certainly not least, is the human, the ultimate monster and root of evil. The human fits into almost every thesis in some way. They fit into Thesis I, II, IV, V, and VI. The human signifies something more than just a body, a human is more so about emotion and mentality that sets us aside from other animals, and in this human mentality has become socially constructed by evils in
He warns Victor that "if I cannot inspire love, I will cause fear;" (Shelley 125) and "if I have no ties and affections, hatred and vice must be my portion" (Shelley 126). He takes the lives of Clerval and Elizabeth; both innocent victims. We see grief, sorrow, hate, and anger emphasized from the monster throughout the book from his reaction to society degrading him. The monster intensely desires to be a part of society and if the only way he can participate in society is to indulge in evil, then he will. Thus, the being truly becomes the monster that society had feared from the