Monsters are a part of every society, and ours is no exception. They are deeply embedded in our history, our mythos, and our culture. However, treating them as simply a facet of children’s stories or escapist entertainment belittles their importance. When examined closely, we see that monsters have always represented the things we fear: that which is different, which we can’t understand, which is dangerous, which is Other. But in many ways, monsters also represent our growing awareness of ourselves and our changing place in a continually shrinking world. Contemporary portrayals of the monstrous often have less to do with what we fear in others than with what we fear about ourselves, what we fear we might be capable of. The nineteen essays in this volume explore the place and function of the monstrous in a variety of media – stories and novels like Baum’s Oz books or Gibson’s Neuromancer; television series and feature films like The Walking Dead or Edward Scissorhands; and myths and legends like Beowulf and The Loch Ness Monster – in order to provide a closer understanding of not just who we are and who we have been, but also who we believe we can be – for better or worse.
The nineteen essays in this volume explore the place and function of the monstrous in a variety of media - stories and novels like Baum's Oz books or Gibson's Neuromancer; television series and feature films like The Walking Dead or Edward ...
Near the end of the book, the wizard is revealed and his gift of a special magic potion that transforms each child is explained. The wizard's history and his personal life are explained also in the last section of the book.
The triffid is a species of monstrous plant (see PLANTS, MONSTROUS) first featured in the 1951 novel The Day of the Triffids, by John Wyndham. Their name comes from the Latin for “divided into three,” referring to the ambulatory plant's ...
This book visits the 'Thing' in its various manifestations as an unnameable monster in literature and film, reinforcing the idea that the very essence of the monster is its excess and its indeterminacy.
Spanning nearly a century of cinematic terrors, The Ultimate Book of Movie Monsters showcases creatures from genres such as horror, fantasy, B-movies and even musicals.
Jones uncovers the origins of horror in the suffering inflicted by political and sexual revolution. The avenging monster, a mainstay of horror, emerged from the sexual dissolution of the French...
Illustrated throughout with outstanding new full-colour annotated artworks, easy-to-follow accounts of the characters’ stories and factfile boxes, this book will appeal to any child interested in tales, monsters and movies.
Her short stories have appeared in Cursed Collectibles, The Copperfield Review, The Plaid Horse Magazine, Black Fox Literary Magazine, The Fat City Review, and more. Besides writing, Shannon has a passion for horses and has competed at.
... Fiction. She co-edited the volume Monsters of Film, Fiction, and Fable: The Cultural Links between the Human and Inhuman in which her articles, “Killing Tinker Bell: ReMythologizing the Fey in a Technocentric Age” and “What Happens When ...
I have to assume, now that it's too late to ask Pate to elaborate (he died in 2008), that by “your boys” he was referring to Cottrell and Farley. William Phipps, one of the members of the Laughton acting group who was not gay, ...