The Monsters In The Film Let The Right One In

Humans for centuries have been drawn to vampires. From sitting around the fire in the time before the industrial revolution, to sitting around the table and in modern times watching it on the big screen. The folk tales of the undead that hunt at night, sucking the blood of the innocent has haunted and intrigued the human psyche for as long folklore has been in existence. Being afraid of what is being told to them, yet being unable to pull away. The pull and push affect that these mystical monsters have on the human aura is undeniable. Modern day vampires have a cult like following. When the Twilight series came out, the people where divided between team Jacob and team Edward. Teenage girls would swoon over these monsters, dangerous yet alluring.

Vampires have been around for centuries, they represent the fear of many things such as sexuality, race, gender, etc. and above all, they stand for the fear of diseases. Vampires have once been the symbol of horror due to their terrific depictions and were described as a threat to the humanity. Throughout time, the image of vampire has changed dramatically from a monstrous, inhumanely creature that doesn’t belong to human society to such an attractive and adaptive figure that expresses more of the human side than the evil. They developed human feelings, senses, and live within our society. Modern vampire movies are often more romantic and “sympathetic” comparing to the past. Vampires have abandoned their horror and evolved to a more

Why does Bram Stoker and many authors alike make vampires out to be voluptuous and sexy? Is it because it brings light to our darkest desires? Not in the sense that we desire to feed on another humans blood. But in more of a dark and sinful kind of way. In society back then and now, sex is still kind of weird to talk and be open about. Although, sex is more accepted nowadays it is still something you usually do not discuss. So I believe what drew a large crowd in for Dracula was the fact that it went against the norms of society. For example, the Jonathan Harker describes the encounter with the three sisters as "ecstasy" (Stoker 42). He said that they had

“Fear and euphoria are dominant forces, and fear is many multiples the size of euphoria” - Alan Greenspan. New York author, Alan Greenspan, here is explaining that the threat fear presents is really no different than the state of intensity caused by euphoria. In Andrew J. Hoffman’s anthology, Monsters, there is substantial evidence that both fear and euphoria are inflicted upon men, by female monsters. The two threats men typically face against women are temptation and emasculation. Thus, in mythology and folklore, female monsters exemplify the impulse of desire (sexually) for men, and male weakness. These are creature that are lusted after and yet, still feared because of their power. Men find female monsters both fearsome and euphoric and will always threaten their dominance and control.

Blood is the symbol of human passion, the source of all passion. I think that is the main subtext in our story. We've tried to depict feelings so strong they can survive across the centuries, like Dracula's love for Mina/ Elizabeth. The idea that love can actually give back to the vampire his lost soul" (Holte 82).

Starting with Chapter One, the author introduces the reader to the first few accounts of werewolves, or what would be considered werewolves by our current imagery. She discusses the ancient Epic of Gilgamesh, which is the first tale of a werewolf and the first story of a man falling victim to, and being transformed by, a “wicked woman,” which is a theme that runs through many of the older stories. She also brings up Ovid’s retelling of the Metamorphosis, a Greek story about Lycaon, who attempted to serve human flesh to Zeus and was horrifically punished for his actions. Next is the Satyricon, written by Petronius. From the stories presented, we are able to start classifying the subjects as going through either voluntary or involuntary transformations.

(2) Aileen never felt guilty toward her victims. In the movie, she mentioned that “people kill each and other everyday” for religion and politics, and “there are heroes”. She could not stop killing because she felt that she had to kill people who could rape her to avoid them to rape somebody else. If she had not been caught, she would kill more people. At the end of the movie, after she was convicted, she still considered that the judge sentenced “a right woman to death”.

A werewolf is someone who changes form into a wolf for a period of time, typically around the full moon. It is unknown when and where the first werewolf myths came to be, but one of the earliest recordings is of Bisclavret by Marie de France. In her story, the protagonist is a baron from Brittany, who has to leave his otherwise normal life for three days each week and roam the woods as a werewolf. As a nobleman in human form, he has conformed to and personified masculine gender norms of the middle ages, yet once he has transformed into Bisclavret, they are abandoned. To be masculine during any age, is to be in possession of the traits or qualities associated with men. The gender norms represented in Bisclavret by Marie de France are so

A werewolf in folklore and mythology is a person who shape shifts into a wolf, either purposely, by using magic or by being placed under a curse. Werewolves were known in almost all European countries and cultures. Werewolves are only second in line to vampires in popularity.

While looking at the relationship between Oskar and Eli through the Forry article’s theme of hyper-sexualized vampires, I noticed that Eli and Oskar share more of a true love rather than the love captured in other vampire films that is dominated by a more sexual less intimate connotation. However, it is without a doubt that the classic vampire we recognize and have grown to love and hate would not continue to exist if the sexual context of all that they represent was taken

The generalization for vampires has been displayed in films and literature for hundreds of years. The stereotypical versions of vampires are that they have long fangs, sleep in coffins during the day, and suck the blood out of humans. Both novels contradict those stereotypes in different ways. To understand the diversity of the vampires described in both novels, one must examine the characteristics that the vampires display and the meaning and purpose behind them. David D. Gilmore’s book “Monsters” analyzes monsters and other mythical creatures. Gilmore describes why humanity invented the idea of

Vampires are the ultimate bad boys, powerful, persuasive, loners and tortured souls. They search forever to find “her”, the fantasy of hot endless love. Which is why these females in vampire literature are willing to risk their lives for a vampire, they want something more. The darkness and mystery pulls these women closer and closer to what can be the greatest love of all time. For example Bella Swan from “Twilight” was a regular mortal who wanted nothing more to be with Edward Cullen the vampire. Elena from “Vampire Diaries” found love with a human who turned out to be a vampire. Even in “Vampire in the Lemon Grove Fila” didn’t not run away knowing Clyde was a thirsty vampire. All these women knew the risk of surrounding themselves around these vampires. But not one of them was willing to walk away.

According to Freud's psychoanalysis, the id consists of the bodily drives, which are dichotomously subdivided into the destructive death drives and the life-preserving Eros (Freud 1994, 44). Stoker's vampires are a blend of both concepts: simultaneously dead and undead, stealing life to live themselves (Stoker 211). In their most urging motive for action, their desire for human blood, the two sides of Eros are merged: The self-preserving drives, in particular hunger and thirst, as well as the Libido, the sexual desire (Freud 1994, 45). More specifically, evidence of the vampire personifying sexual desire, and the act of sucking blood symbolizing intercourse, can be found throughout the entire novel. It occurs, for example, in the repeated description of the female vampires as “voluptuous” (Stoker 187), or in Jonathan Harker's feelings of “languorous ecstasy” (43) and “wicked, burning desire”, as he awaits the vampire's kiss (42). Even the description of Lord Godalming killing his vampiric fiancée contains a morbid sexual undertone (192). On the contrary, Stoker's vampires also portray Eros antagonists, the death drives. Those comprise the human's self-destructive desire to return to its inorganic, inanimate state (Ermann 48), which can be connected to the vampires' death-like sleep in coffins (Stoker 50), their un-dead nature (179), and

In today’s society there is a greater than usual detachment from reality. With all the movies and T.V. shows featuring vampires, and how glamorous and wonderful it would be to be one with not a care in the world, and all the wealth you could ever want. Vampire stories have been around since the dawn of man and will continue until the end of mankind and they will continue across the millennium of time, but not in fact based reality

How is the term “monster” defined? Are monsters dark creatures, with the ability to call upon hell and all its attributes? Do they have mangy fur and eyes the vibrant color of blood? In reality, monsters are not furry beast that live under the bed. Monsters are born into this world just as you and I, as human children.Children who utilize false innocents to cloak their wicked tendencies. Monsters are no longer simply being that haunt the nightmares of children, no longer can they be vanquished by the flip of a light switch. Monsters are real, they are individuals that have traveled so deep into the darkness of their own soul that they have lost their way out. As human beings we are gifted with free will, therefore we have the ability to chose what side ,light or dark, prevails in our hearts. With fierce unwavering determination, we even possess the power to fight away the darkness with in the hearts of others.