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Alhamza4

Husain Alhamza

Miss.Bennett

Composition II

March 6,2017

Monstrosity in the Media

The media plays a valuable role in forming, and the regulation monstrosity. Over the decades. How people represent monsters and ideas of monstrosity in the media has went through many alterations and modifications. Customarily, the media had an image about monsters and painted it to the world, showing monsters as intimidating others and connected monsters to violence and unspeakable behaviors. Though, the picture of monstrosity in the media has went through many renovation, where monsters are seen as a kind of romantic heroes. According to Cohen, monsters embody meaning machines, which affirms their adaptability (11). They are tamed so they are not meaning carefully monstrous. Since the public tends to be highly fond by monsters, the media twist, and reforms them into beautiful celebrities.

A lot of monster media plays with the psychological warfare with the idea of the monsters in our view points. Everyone looks to what makes them afraid, and what leaves them with nightmare through a different eye. Some movies such as The Chainsaw Massacre are just for mental scares, because you never see blood. You just hear the screams and terror from the voices of the victims through the shadows. While there are many and unique types of monsters, they come in all kind of shape or form.

The idea of monsters began with seeing them as people with mutations. I believe we all have a monster living within us, and we get scared when we take a peek inside others or the monsters in movies because they do not act like us, and are very unpredictable. That is why horror films and monsters conspiracy so much because fairly they are an unrepeatable part of us.

The popular culture and entertainment media portrays a universal presence of monsters. The concluding, in this aspect, represent creatures that are deemed so ugly as to scare people.

A monster can also be defined as a creature or object that puts horror and makes people quiver with fear by brutality or mischief. The media illustrate monsters as having astonishing capabilities and skills that permits their fame or superstitious status. In the last years, there has been a flow in movies and on television shows that feature monstrous characters, including zombies, vampires, witches, werewolves, and wraiths. At the same time, the representation of monsters in the media has moved, given that the vampire is no longer seen as a monster, but as a misunderstood creature with feelings of sorrow. The accomplishment of recent television shows, such as The Vampire Diaries (2009), HBO’s True Blood (2008), and The Twilight Saga (2009-2012), have sparked fame within the world of monsters who hang on to remnants of their humanity (Somogyi and David 197).

In the film, “A History of Horror with Mark Gatiss (Part 1 of 3) Frankenstein goes to Hollywood,” the narrator notes that modern horror films and the monsters within symbolize the bottled-up collective desires, nightmares, and worries. As such, it can be argued that they allow the society to address and overcome its unconscious terrors. Nevertheless, they no longer portray monstrosity as evil and wicked. According to Cooper and Blake, the media paints' monsters as outlaws that live outside of the laws and rules of the society (235).

The resemblances of monsters in the media shows that there is no doubts in the media of representing monstrosity as which they attracts widespread public attention. There is a wide point of views when it comes to the interpretation of monstrosity. The straight media’s representation, for example, suggests that there is a sense of violence qualities. Cooper and Blake contend that monster narratives in the media epitomize the dichotomy of good versus evil, which plays a significant role through the establishment of boundaries between humanity and monstrosity (16). Cooper and Blake argue that monstrosity functions as a tool for understanding ourselves (9). I agree with Cooper and Blake that the media representation of monstrosity is reflective of the society’s anxieties and value systems.  

On the other side of the coin, the monsters offer a reflection so that we, humans, can see the other part of ourselves. The media ways of painting monstrosity is not different than the way of criminals. Monstrosity and celebrity are parallel for each lives outside of our world. Hence, celebrities’ show what is to be anticipated, Repeated Stem and monstrosity show to the consequences of taking the desire repeated Stem too far. Each culture requires a person who booms at the limits of social maps. According to Somogyi and David, the media depict monsters as intrinsically rehabilitative figures (197). Personally, I do not view monsters as naturally reconstructive. Monsters may carry the possibility to threaten the conservative distinctions between them and human beings as well as between life and death, but the monstrous discourses provide a means to map out proper behavior and cultural identity, which suggests that making monsters is an essential public hygiene. The Unclear sentence narrative of the monster figure teaches people within the boundaries of a civilized society by lighting up where such limits lie and demonstrating what happens when they are crossed. 

In conclusion, the way people make the illustration of monsters is an everyday in today’s media and society that shows monsters with synchronized, dislike, and attraction. Hence, typical monsters have become less aggressive and dangerous, and are now exposed to a process of humanization in line with rising acceptance of social outsiders. Truly, the media’s demonstration of monstrosity is not wholly about brutality, cruelty, and defect given that monsters are instruments of innovation.   

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Works Cited

Blake, Brandy Ball, and L Andrew Cooper. “Monsters.” Monsters, Fountainhead Press, Southlake, TX, 2012, pp. 11–235.

Bleachershane. “A History of Horror with Mark Gatiss (Part 1 of 3) Frankenstein Goes to Hollywood.” YouTube, YouTube, 2 Jan. 2014, https://www.youtube.com/watch?v=zkzbjd4utlm.

Bucciferro, Claudia. “The Twilight Saga: Exploring the Global Phenomenon.” The Twilight Saga: Exploring the Global Phenomenon, pp. 197–197.