With the 1932 movie “White Zombie”, which follows the traditional Haitian idea of a zombie, the zombie entered Hollywood and did not leave it ever since. The zombie portrayed in the movies of 1930s and 1940s represented fear of the other and colonialism. Owing to the fact their rotting flesh is a central image of who they are, the reanimated dead represented an appalling creature. Between the late 1940s and 1960s zombie movies carried signification linked to nuclear war and fascism. Afterwards, the newly developed type of zombies appeared as flesh eating monsters in George Romero's 1968 film „Night of the Living Dead“.
An American man, William Seabrook, learned of the voodoo “zombi”, in which Haitians believed those with heavy sin lingered beyond death and became mindless servants. He recorded meeting four “zombies”, slaves employed by American manufacturers and made to work in squalid conditions, but he was ignorant to this and instead noted them as supernatural monsters (Crockett, 2016). Fast forward to 1940s, World War II was emerging, and zombies became an important part of media to expose fears of communist governments and atomic warfare. In the 1960s, the movie Night of the Living Dead which featured “... closing credits of the film are a series of still, grainy images, in which a mob of white Southerners puncture Ben’s lifeless body with meat hooks … final shot
Katie Gallagher Adam Wadenius Film 120 23 September 2015 Don’t Judge a Book By Its’ Cover: A Comparison of the Internal Monster vs. the External Monster As the world around us evolves so do the monsters in popular horror films. Nosferatu (1922), Frankenstein (1931) and Psycho (1960) are all horror films in which a monster terrorizes innocent bystanders. However a clear distinction can be made between the earlier horror films like Nosferatu and Frankenstein and later films like Psycho in regards to the type of monster being presented. These monsters differ not only in appearance, but in attitude, motives for their murders and how they go about killing their victims. Count Orlok of Nosferatu and Dr. Frankenstein’s monster exemplify the external
„Zombies in the Romero style are precisely what Robert Kirkman delivered when he kicked off the comic book series The Walking Dead in 2003“ (Lowder, 14). Anyone who dies, no matter the death cause, becomes a zombie. The main characteristics are unintelligence, slow movements and killing them by the destruction of their brain. A new type of zombies who retain their intelligence and personality appears in a TV show iZombie. After being bit, scratched or infected by a drug
Parker begins the essay with a crash-course on the zombie’s early popularity before moving onto more modern times, beginning with what he considers the start of the zombie’s fame: Romero’s 1968 film, Night of the Living Dead. From there he begins describing the zombie and the media it has appeared in using explicit details and metaphors to illustrate it all to us – the readers. Once he reaches the point of the zombie’s origin he elects not to drum it out like a
One can see the destructive impact of knowledge through several characters, one of them being Victor. The reader can see that Victor Frankenstein is the double of his creature in knowledge leads them to destruction. This is amplified by the use of the Chinese box technique, due to the fact that it portrays the lives of both characters from their own perspectives. By the end of the story, Victor’s life is utterly destroyed, all those he cares for dead, and he feels wretched. This is due to the fact that when he gains knowledge, he creates a supernatural being, and this monster kills many of his loved ones.
The motives of a mob are never easy to determine: each person could want something else entirely or they could all want the exact same thing. Whatever their motives both the characters from Rod Serling’s “Monsters Are Due on Maple Street”, an insightful teleplay on the true nature of monsters, and the men from the 1923 Rosewood massacre, a bloodbath caused by a woman, a mindset, and a color— detailed in Michael Buchanan’s blog— formed mobs for very similar reasons. In fact both mobs formed for the exact same reasons. The quote from age twenty-one of Serling’s teleplay showcases the reasons that caused the formation of both mobs; these reasons can be organized into three main categories that pertain to both cases: fear, prejudice, and honor. Both aforementioned texts are riddled with examples of characters that formed the mobs being
The human side of the creation is also expressed when Victor passes away, when “He utters exclamations of grief and horror” revealing that he has harbored emotion for his now dead creator. What monster has conscience? Victor Frankenstein's describes his magnum opus as "beautiful" yet repulsive its "yellow skin… lustrous black, and flowing hair… and teeth of pearly whiteness." Victor describes the monster's eyes, considered by some to be the windows upon the soul, as "watery eyes… the same colour as the dun-white sockets in which they were set". While the monster looks and acts exactly like a human being, it is like no human that has walked before it.
Another symbol is Madeline Usher. She symbolizes the evil side of a person. When she comes back to the house, Poe writes, “...fell heavily inward upon the person of her brother, and in her violent and now final death-agonies, bore him to the floor a corpse, and a victim to the terrors he had anticipated.” Madeline came back and killed her brother; adding a creepiness to how he died. In a big way, Poe uses symbolism to add a tone to the story and cast more fearful
As people later find out Carmilla’s true identity as Mircalla and as a vampire, they are disgusted and they revolt against her. People open up her grave to destroy her because she is viewed as a monster in their society: “The body, therefore, in accordance with the ancient practice, was raised, and a sharp stake driven through the heart of the vampire, who uttered a piercing shriek at the moment, in all respects such as might escape from a living person in the last agony” (Le Fanu 96). The execution of Carmilla is stressed upon because it results in how it is thought that