Van Helsing Analysis

There were many brave women who beleived ine the union cause. One of the most well know female spies was Elizebeth Van Lew. She lived in the South but had northern veiws. Elizabeth R. Varon a reporter at The New york times wrote “As she watched a secessionist procession snake through the streets of Richmond in the wake of Virginia’s vote to join the Confederacy, she knew the time for compromise had passed. “Such a sight!” Van Lew wrote. “The multitude, the mob, the whooping, the tin-pan music, and the fierceness of a surging, swelling revolution. This I witnessed. I thought of France and as the procession passed, I fell upon my knees under the angry heavens, clasped my hands and prayed, ‘Father forgive them, for they know not what they do.’”

Young Frankenstein has important visual effects that bring to this film a well-rounded sense of both frivolity and campy thrill. Satirically embodying the older films, Young Frankenstein includes overly dramatic scene transitions such as iris outs, wipes, and “fading to black”, like all classic Hollywood horror films. In classic Hollywood horror, there are lightening flashes, villagers carrying torches and monsters moving in slow motion. The

Monster exists long time ago and they are everywhere. However, there are different types of monster, some that are good and some that are bad. Many people that watched monster films get the desire of being one of the monsters that appears in the film. This essay will argue the different aspects and effects that monsters have in a person. I will use two article that will help explain the differences aspects and actions of the monster. One of the articles is “Here Be Monsters” by Ted Genoways, second article is “Fear of the Monster is Really a Kind of Desired” by Jeffrey Jerome Cohen. “Monster can function as an alter ego, as an alluring projection of (an Other) self” (Cohen, 190). Furthermore, this essay will show some fallacies that the author

Asma states, "Monsters can stand as symbols of human vulnerability and crisis, and as such they play imaginative foils for thinking about our own responses to menace.” This means that human weaknesses and fears are represented through monstrous figures, and these fictional situations provide perspective into how we react in fearful environments. In our current society we fear many things, including but not limited to failed or corrupt governmental systems, the afterlife, the unknown, and captivity, which makes this claim valid. Although we may not realize it, these fears are embodied by the horror monsters we see in popular culture. Society shares common fears, and often times the most prevailing fear is reflected in the most popular characters at any given time. Monsters are the fictional representations of society’s dark subconscious, exploring not only why the author’s statement is accurate but what we actually fear.

Monsters and the Moral Imagination by Stephen T. Asma is an exploration into why, as of recent, society has become so fascinated with monsters. Asma considers a vast amount of reasons why this surge in interest could have come along, such as; “social anxiety in the post-9/11 decade, or the conflict in Iraq” (Asma). Another possibility is even the fall of the economy that occured around December 2007.

The foundation of horror genre was set by monsters that not only haunted your dreams but also conveyed rich themes found deep beneath the surface. Vampires are considered a symbol of seduction and sophistication while Frankenstein monsters represent misunderstanding, oppression, and rebellion. Some of the strongest symbolism is found in standard films of the horror genre does not come from the frequently updated relics. Utilizing fear and horror as mechanisms for subtext, social commentary, and symbolism, George Romero created a new horror genre, one that scares and shines just as much as great horror classics. Romero’s Night of the Living Dead revolutionized the once stagnant zombie film and made into something unstoppable, still to this day zombie movies rake in millions of ticket sales at the box office while remaining culturally relevant.

A more recent version of the monster has entered our society. This is the Frankenstein monster that is in the movie Van Helsing. This monster looks similar to the monster in James Whale's Frankenstein. This is a reflection of how the monster in James Whales movie became the symbol of Frankenstein that audiences can relate to in pop culture. This monster goes through many of the same rejections by society but wants to help the character Van Helsing to defeat evil and help save the human race. This is a modern take on how we should view the monster. The fact that this hideous creation of science is accepted by these heroes to help them an ultimately ends up saving humans is an extremely different role for the monster. This monster is reflective of the way that our current society views science. With the advancement of modern medicine and the availability of heart transplants and now the

He rejects the notion of "good" people are supposed to pretend that religions are all pretty much the same because we get along by acknowledging, understanding and respecting our differences and not by pretending we are all the same.

“Beastly” is the modern version of “Beauty and the Beast” it reintroduces the story of a handsome but selfish and inconsiderate man who angers a witch. Who then turns him into a grotesque being who has to have someone fall in love with him before the spell is permanent, he later falls in love with a fair maiden that overlooks his physical flaws. Certainly the remake had some adequately executed archetypes such as character, plot, and theme. Moreover “Beastly” sufficiently drew on the character archetypes hero, villain, and damsel in distress.

A monster shows up to terrorize a town and the people are frightened and do not know what to do. The king finds out and calls for a courageous and daring hero to venture across the sea the help fight the disastrous monster. The hero swoops in to fight the monster; after a long battle he defeats the monster. He saves the day and the whole town celebrates the hero and the great challenge that he has completed. Most storylines that include the topic of heroes versus monsters go something like that. As long as heroes and monsters remain a common topic among authors stories like these will always be written.These stories are told from the heroes point of view because people want to see the

The first monster he kills he leaves his home country to go fight it. When he get to the land where the monster is killing all the people, he goes straight to the king of the country that the monster is on. He goes to one knee and said that he is here to fight grendal. But there is a couple of rules that he has to have he said that it was he duty to come fight and that he was going to fight the monster with his bare hands no weapons. So he goes and fight the monster and he grabs him and does not let go and the monster kept pulling.

Bela Lugosi is arguably the most classic example of an actor taking on a vampire role. However, during 1931 when the universal studio was casting the 1931’s Dracula, Lugosi could only barely speak English, and therefore almost lost his chance at playing the iconic part (“Dracula (1931 English-Language Film”). Nonetheless his accents and costumes, which has become the classic look of the vampire, he himself was so typecast in his role that he was actually buried after his death in his Dracula costume. Certainly, it is Lugosi’s performance that makes Tod Browning’s film such an influential Hollywood picture. Overall, I will give it a 3 star out of 5, compared with the older version film of Dracula, because of the dialogues and sounds, the plot is much easier for the audiences to understand, without any editing or background music the horror of the film is not inferior to

There are classic monster movie moments which visually come to life on the page. The moments aren’t gory, but slimy and startling.

order to do that Shrek is sent out on a mission to rescue a princess

The horror movies of the past ten years of so have tended to be more violently graphic and visceral - a reflection of modern times, perhaps. Think of the blood and gore, of the violent deaths at regular intervals in such movies as the Friday the Thirteenth series, I Know