The Babadook and Monstrous Mothers
The Babadook is an Australian horror film which changed the landscape of monster movies. The Babadook is a doppelganger monster, a creature who represents depression, complicated manoeuvres between reality and fiction, and, more importantly, ambivalent motherhood. Babadook is a representation of this type of monstrous motherhood, one which is condemned by social regulations on women and mothers.
Momo: Anatomy of a Monster
What was interesting was that concerned parents actually were the ones proliferating the story by warning others about it through other media outlets. The narrative spreading led to some taking advantage of the sheer rise of searches for the monsters by creating new content so theirs becomes more visible. So in many ways, the fear around Momo actually led to more Momo, like a self-fulfilling prophecy.
Siren Head: Anatomy of a Monster
One of the interesting aspects of Siren head is it’s connection to some of the problems associated with contemporary life, especially in more recent years. Its brings up important questions about information and how we interpret or understand it. It makes us wonder: can you trust what you hear?
The Reality of Monsters
I think often we think of the reality of monsters as being something that demonstrates they are inherently manifest somewhere physically in the world. Belief in actuality is one thing, but that is set apart from the reality of monsters. The existence of the phenomenon is not what gives the monster its strong force in the world. In fact, people still believe in monsters in the way they have in ages before.
Stranger Things: a Structural Mythic Analysis
Strap in for a slightly longer essay than usual, because this week we're doing a structural analysis of the first season of Stranger Things. Jumping off from the idea of Pop Culture as Mythology, we're going to illustrate that what actually means when we directly study a piece of pop mythology. Stranger Things argues against structures of society that sets the us against them. By reinterpreting the classic cultural structures, it demonstrates ways to defend the vulnerable and fight against government pressures.
Cosplay and Monstrosity
During the amazing time of a convention, the fiction is alive around us. Not just because of the many plushies being sold and the excited fervour of other fans who surround us, but because of cosplayers. We see our favourite characters, get to take pictures with them, and even sometimes get to see them perform our favourite moves as they go across a stage.
The Digital Campfire
There is a magic to the campfire. It saves us from the darkness, but it also makes us feel like we are closer to that darkness at the same time. The stories we share also bring the darkness closer to the fires, but the fire is always there to keep it from being too close. It protects us, in a way, reminding us that the darkness can’t actually touch us - it’s just the stories that make it feel closer.
Cosmic Horror and Religion
Above the fear, Lovecraft’s cosmic horror is also embedded with a nature of awe. When we talk about something being awful for Lovecraft, its in the actual sense of that word - something that is absolutely full of awe. Awe does not necessarily indicate something positive and beautiful, but can also be something so entirely morbid and unnatural that one cannot actually look away.
The Beast - Over the Garden Wall
The Beast is the hopelessness of the woods - the feeder on the desperate and those who have become too lost to even attempt to keep finding their way. When fighting with Wirt and the woodsmen in the final episode, a light flashes on the Beast and - for just a flash - we see what he truly looks like when not an imperceptible shadow. He looks like the trees that become the souls, with faces of the lost and hopeless covering his body. He’s not just someone who feeds on the lost souls in the woods, but someone who is the embodiment of the forlorn.
Communication and Storytelling in Buffy’s Hush
Originally aired in 1999, Buffy the Vampire Slayer's episode Hush introduced the audience to perhaps the scariest monster in the Buffy series: the Gentlemen. Their silence, creepy smiles, and methodical removal of their victims' voices make them a monster that still haunts fans of Buffy. In this essay, I explore the episode of Hush, and the themes of silence and communication as a form of storytelling. From a myth studies perspective, Hush gives us interesting examples of how language and language disruption can change a community, as well as how the body can also form as an important anchor of communication.
Monsters: the Meaning of Orcs
So why don’t we first start with the basic description of an orc. Orcs are often defined by four primary features: (1) skin colour, often a dark green; (2) homelands outside of civilisation, often far outside the locations of built-up cities; (3) a “primitive” culture; and ultimately (4) extreme aggressiveness and irrationality. Even in more recent depictions of orcs, these four elements are somewhere present – they make up the characteristics that readers instantly recognise as “orcish”.
The Antlered Wendigo
Today, I wanted to explore the wendigo, primarily looking at it’s origins in Native American folklore, and how it came to be represented by antlers. I wanted to also reflect on what it means for the antlers to be present, and how their presence has fundamentally changed the wendigo.
Krampus
Christmas Horror is not always something you see reference to but is actually not all that abnormal. It’s not just recent Hollywood B-movies which have captured the Christmas horror aesthetic – particularly one that you see with their own imaginings of Krampus. But actually, Christmas is the perfect time for horror and dark stories.
The Yule Lads
The Yule Lads come to us from Iceland. These strange characters are normally mountain-dwelling. But come down to the towns during Christmas. Their mother is another Christmas monster: Gryla, the ogress-witch of Icelandic mythology. The Yule Lads hunt the towns around Christmas to find naughty children, who they kidnap for their mother to eat in a naughty-child stew.
The Meaning of the Pale Man
The whole theme of Pan’s Labyrinth is disobedience, and the disobedience most presented is from the invisible figures who are typically victims of patriarchal violence and thought. While the doctor and the rebels are also figures of disobedience, Mercedes disobedience is presented as far more dangerous and subversive of sexist thought. But we’re going to focus more here on the disobedience of Ofelia.
Reddit’s Sympathetic Monsters
What makes reddit’s sympathetic monsters so interesting is how it treats what is considered monstrous. The images presented are what we typically think of as “monsters” – creatures who echo demonic bodies, or hybridized forms which cross boundaries of our categories of specific animals or animal types. These monsters are not presented in situations which capitalize on their horrid forms, however. They, instead, are portrayed in caring and – well – sympathetic ways.
Research Roundup: the anatomy of monsters
I wanted to end the latest round of monsters with a quick list of some of my favourite go-to sources when it comes to monsters and monster studies. This is a perfect starting point for anyone whose interest has been piqued and wants to start their own exploration into the study of other monsters that prowl other minds.
GLaDOS as Victim: the Anatomy of a Monster
When I think of classic video game antagonists, there’s always one who lingers in my mind. Her taunting monotone voice making fun of every mistake, all listened to while reading the graffiti of “the cake is a lie” is burned into my memory. GLaDOS, the monstrous machine of Valve’s Portal, is an interesting monster to explore in our series because of her role as both monster and victim. GLaDOS’s design as monster is massively complicated. To get at her monstrous heart, we need to understand both her design and her history.
Khloe Kardashian and the Female Body: anatomy of a monster
For ages, the female body has been seen as a monster. Not just the female body generally, but specifically the fleshy female bits. The rounded female – the curves which are not carefully crafted – is something seen as reprehensible. Most of the responses to Khloe was not negative toward her body, but negative toward editing. Her response spins the narrative to focus on her own greatest fear: being fat. Because fatness is seen as monstrous for society – bubbly flesh seen as not sexy and as definitely not wanted.
Oogie-Boogie: the Anatomy of a Monster
The Nightmare Before Christmas has become a movie staple for both Christmas and Halloween. While the debate on whether Nightmare is more a Christmas movie or more a Halloween movie, one element which never needs debating is how Oogie-Boogie is one of the scariest villains exposed to children. What makes Oogie-Boogie a good villain, and quite frankly a scary monster, is his confusing nature, and how he stands in such contrast to the rest of the characters in the film, while still being clearly a part of that world