Just because they are guilty doesn't mean they can't be a Monster. In the book Monster by Walter Dean Myers, Steve Harmon, a 16 year old, is on trial for felony murder. Based on the evidence given, Steve Harmon is not guilty as shown through testimonies, journals and flashbacks. During Steve's trial, Lorelle Henry, the librarian, testifies and proves Steve Harmons innocence. She testified that King was in Nesbitts Drug Store
In the teleplay the Monsters are due on Maple Street by Rod Serling the residents wanted to find out who the monsters were. The characters acted chaotic. Through the cause, the author conveys important messages about the suspicion and fear. Suspicion was used when all the people start to question Les Goodman’s car when it started on page 7. In addition, suspicion was used when Charlie, page 15 said “It’s…it’s the kid.
Featured in the academic journal Science Fiction Studies, William J. Fanning Jr.’s article “The Historical Death Ray and Science Fiction in the 1920s and 1930s” discusses the prominence of death rays in the post-World War I era. Based on popular media records (i.e. Books, film, literature, news articles, etc.) Fanning makes claims that people at the time were preoccupied with ideas of the ‘next war’ and the potential destruction of humanity via ‘death ray’, defined in the article as any weapon that could cause such harm. Fanning uses the persuasive techniques ethos, logos, and pathos3 to convince the audience of the points he formulates within the article, and ultimately his overall claim that ‘death rays’ were a prominent part of the 1920s and 30s.
“With E.T., a fairy tale about a boy's friendship with an alien stranded on Earth, Spielberg made one of the most cherished films of its time. The movie made him a celebrity in his own right and even garnered him a United Nations Peace Medal. Spielberg's influence on U.S. culture in this period cannot be overestimated. Indiana Jones, E.T., and the shark [Jaws] became durable icons” (“Steven”). Given that, Steven Spielberg created a masterpiece by bringing in an alien for the first time into film, which therefore created an icon and symbol of American culture.
Sure the last act has a mixture of CGI and Practical thrown in, but by and large the film just relies on tension. The not seeing being what scary. Though this abandon during the last section of the film, when the film quickly devolves into a creature feature. A good one
Bryce McLellan Coach Cobb, Mrs Cone Gt Humanities 3B 1 February 2023 Monsters Blending In People often depict monsters as disgusting beings with horrifying features, but in reality, true monsters are ones that blend right in. In Mary Shelley’s Frankenstein, Victor Frankenstein pursues dangerous knowledge involving creating new life in hopes of being recognized, but due to his inability to think of consequences Victor brings a massive creature to life who can kill with ease. This creature kills several of Victor’s close friends and family to get revenge for abandoning him.
When people hear the word “monster”, most people imagine a massive, horrid, and grotesque figure that haunts people. While pondering what a monster is, mankind thinks of the outward appearance. Seldom do people think of man’s internal qualities as being barbaric or gruesome. Authors allow readers to create their own images of these terrifying beings. Frankenstein is a thought-provoking novel that empowers readers to have their own opinions about who the actual monster is and what it looks like.
Sontag claims that sci-fi films do not contain horror. In fact, she states that “ suspense, shock, surprises are mostly abjured in favor of a steady inexorable plot. Science fiction films invite a dispassionate, aesthetic view of destruction and violence--a technological view” (332). In other words, science fiction films, only contain
Their theme is focused on the concept of “us vs. then” whether it’s a machine or alien. To begin, Blade Runner emphasizes that earth can no longer be inhabited by humans due to a nuclear war and its radiation. I
The film encapsulates the principle that there are men who can be monstrous, and monsters who can demonstrate great humanity, with themes like ‘the monster is us’ and ‘embracing the otherness’ at play. The Shape of Water serves as a love letter to cinema, wearing its influences on its sleeve. Del Toro borrows the framework from cult horror classics such as Frankenstein, King Kong, and The Creature from the Black Lagoon; the ending of the film is a clear subversion of the latter’s, where the narrative ends in triumph instead of calamity. Instead of viewing them thematically as monster versus men, del Toro sees these films as tragic love stories of misunderstood creatures. “I thought it was a beautiful image.
Imagine a kid having their father leave them, their mother dying when they are three years old, having a speech problem, and being a highschool dropout at the age of seventeen. Who would ever come over all of this to become successful in the real world? Walter Dean Myers would to shape himself into someone for African-American children to look up to, to show there is a way out. Writing more than one hundred books about African-Americans and Juveniles helped him be shown as an author that speaks out on equality for African Americans. His own life impacted what he wrote about and his message is there is a way out for young African-Americans.
Some of the main qualities that make up the basis of a monster include a creature that mostly deviates from the norm and can pose a threatening force against the rest of society. When it comes to works of fiction, the machine has taken a prominent role in the formation of monsters and continues to do so as societies reliance on technology increases. In 1818s Frankenstein, Or the Modern Prometheus by Mary Shelley, The Curse of Frankenstein produced by Hammer Studios in 1957, and Ex Machina made in 2015 each tells the story of a man pushing the limits and bringing to life a new being, in turn creating a monster. These creations deviate from their creator’s initial expectations and change from being viewed as a wonder to something of horror forcing
The adaption from book to film is a hard fraught translation, in which many themes and fundamental ideas can be lost. This is apparent in the adaption of Mary Shelley’s novel Frankenstein into the 1931 film directed by James Whale of the same title. While the two stories are of the same premise, they are fundamentally different in later story elements, ideas, and themes. Even though the film inspires horror and intrigue like its novel counterpart, it lacks the complex moral arguments and depth of the book it is based upon. Whale’s Frankenstein ultimately fails as an adaptation of Mary Shelly’s work, because the removal of the narration and moral conflict present in the novel, which causes the film to lack overall emotional depth.
“For traditional Christians, the novel belongs typologically with tales of human presumption, in which the protagonist is duly punished for overstepping human boundaries laid down by God.” (Hetherington, 1997) Whether this statement is true is up for a never-ending debate. It is absurd to know without a doubt that the development of the monster is unrealistic and that the story was based upon greed. The first thought that comes to mind is our space program and hearing statements about whether a planet discovered can sustain life.
In the novel Frankenstein,by Mary Shelley, the mysterious and unnatural origins of the character of Frankenstein’s monster are an important element. The Monster, having been created unethically and haphazardly, is at odds throughout the novel, resulting in his alienation from society and prolonged feelings of anger, desertion, and loneliness. Shaping his character, his relationships with other characters, and the meaning of the work as a whole, the Monster’s origins are what define him. The Monster faces rejection and violence every time he attempts to make contact with the new, foreign world he has been thrust into.
