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.

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. Tied primarily to the artistic modes of the gothic, science fiction, and horror, the unnameable monster retains a persistent presence in literary forms as a reminder of the sublime object that exceeds our worst fears. Beville examines various representations of this elusive monster and argues that we must looks at the monster, rather than through it, at ourselves. As such, this book responds to the obsessive manner in which the monsters of literature and culture are ‘managed’ in processes of classification and in claims that they serve a social function by embodying all that is horrible in the human imagination. The book primarily considers literature from the Romantic period to the present, and film that leans toward postmodernism. Incorporating disciplines such as cultural theory, film theory, literary criticism, and continental philosophy, it focuses on that most difficult but interesting quality of the monster, its unnameability, in order to transform and accelerate current readings of not only the monsters of literature and film, but also those that are the focus of contemporary theoretical discussion.

Many monsters in Victorian British novels were intimately connected with the protagonists, and representative of both the personal failings of a character and the failings of the society in which he or she lived. By contrast, more recent film adaptations of these novels depict the creatures as arbitrarily engaging in senseless violence, and suggest a modern fear of the uncontrollable. This work analyzes the dichotomy through examinations of Shelley's Frankenstein, Stoker's Dracula, H. Rider Haggard's She, Stevenson's Strange Case of Dr. Jekyll and Mr. Hyde and Wells's The Island of Dr. Moreau, and consideration of the 20th century film adaptations of the works.

Monster Cinema introduces readers to a vast menagerie of movie monsters, from gigantic beasts to microscopic parasites, from grotesque demons to normal-looking serial killers. Film expert Barry Keith Grant considers what each type of movie monster might reveal about how we regard the natural, the supernatural, and the human.

A guide to more than one thousand beasts, specters, and other monsters, from the Bible's Leviathan to Hollywood's Alien, arranged alphabetically and cross-referenced by subject

Much has been written about gender and the monstrous, but sustained engagement with textual manifestations of cultural and unconscious fears and anxieties about "unnatural" reproduction has been limited. This book expands the current discourse on the monstrous reproductive potential of bodies-as well as minds-from a more interdisciplinary and transhistorical framework. While scholarly interest in monsters and the monstrous is certainly not new, studies on monstrous reproduction and birth have tended to be either discipline or period specific, and many are now dated. Drawing from diverse interdisciplinary perspectives in film and media studies, literary studies, history, medicine and women's and gender studies, Unnatural Reproductions and Monstrosity builds upon pre-existing work while engaging more directly with monstrous progeny, as well as with unnatural reproduction(s), which threaten to eclipse the future, cast uncertainty on the present, and reimagine the past. Ultimately, then, the primary contribution of this book lies not only with its extensive treatment of reproductive monstrosity and unnatural parturition, but with the breadth and intriguing continuity that only a wide lens can provide. This book does not attempt to provide a complete historical assessment or catalog of the enduring cultural fascination with the reproductive origins and potential of monsters. Rather, it provides diverse interdisciplinary and transhistorical perspectives with single unifying theme of unnatural reproduction(s), which is unique to the collection, remaining central to the concept of monstrosity and its evolving narrative incarnations. This interdisciplinary collection spanning the areas of history, literature, medical humanities, and film and media studies explores the transhistorical textual fascination with reproductive monstrosity and unnatural parturition. The collection's four sections provide perspective on hyperbolic and monstrous representations of reproduction and birth that speak to anxieties and fears about gender and sexuality, codified through "unnatural" manifestations and their progeny. By focusing not only on the effect of the monstrous, but also on its reproduction in a variety of genres and modes from science to cinema, the essays in this collection offer critical insight into enduring questions about the genesis of monsters and their reproductive potential that have long haunted the world and continue to shape many fears about the future. This book analyzes how fears about unnatural reproduction and monstrous offspring-and their frequent connections to the feminine-have proliferated and propagated across the very texts which are repetitively created and consumed. Unnatural Reproductions and Monstrosity is an important interdisciplinary book for university library collections and scholars working in women's and gender studies, film and media studies, history, literature, and medical humanities.

Classic horror films such as Dracula, Frankenstein and The Picture of Dorian Gray are based on famous novels. Less well known--even to avid horror fans--are the many other memorable films based on literary works. Beginning in the silent era and continuing to the present, numerous horror films found their inspiration in novels, novellas, short stories and poems, though many of these written works are long forgotten. This book examines 43 works of literature--from the famous to the obscure--that provided the basis for 62 horror films. Both the written works and the films are analyzed critically, with an emphasis on the symbiosis between the two. Background on the authors and their writings is provided.

From vampires and demons to ghosts and zombies, interest in monsters in literature, film, and popular culture has never been stronger. This concise Encyclopedia provides scholars and students with a comprehensive and authoritative A-Z of monsters throughout the ages. It is the first major reference book on monsters for the scholarly market. Over 200 entries written by experts in the field are accompanied by an overview introduction by the editor. Generic entries such as 'ghost' and 'vampire' are cross-listed with important specific manifestations of that monster. In addition to monsters appearing in English-language literature and film, the Encyclopedia also includes significant monsters in Spanish, French, Italian, German, Russian, Indian, Chinese, Japanese, African and Middle Eastern traditions. Alphabetically organized, the entries each feature suggestions for further reading. The Ashgate Encyclopedia of Literary and Cinematic Monsters is an invaluable resource for all students and scholars and an essential addition to library reference shelves.

This book posits adaptations as 'hideous progeny,' Mary Shelley's term for her novel, Frankenstein . Like Shelley's novel and her fictional Creature, adaptations that may first be seen as monstrous in fact compel us to shift our perspective on known literary or film works and the cultures that gave rise to them.

During the 1950s and early 1960s, the American film industry produced a distinct cycle of films situated on the boundary between horror and science fiction. Using the familiar imagery of science fiction--from alien invasions to biological mutation and space travel--the vast majority of these films subscribed to the effects and aesthetics of horror film, anticipating the dystopian turn of many science fiction films to come. Departing from projections of American technological awe and optimism, these films often evinced paranoia, unease, fear, shock, and disgust. Not only did these movies address technophobia and its psychological, social, and cultural corollaries; they also returned persistently to the military as a source of character, setting, and conflict. Commensurate with a state of perpetual mobilization, the US military comes across as an inescapable presence in American life. Regardless of their genre, Steffen Hantke argues that these films have long been understood as allegories of the Cold War. They register anxieties about two major issues of the time: atomic technologies, especially the testing and use of nuclear weapons, as well as communist aggression and/or subversion. Setting out to question, expand, and correct this critical argument, Hantke follows shifts and adjustments prompted by recent scholarly work into the technological, political, and social history of America in the 1950s. Based on this revised historical understanding, science fiction films appear in a new light as they reflect on the troubled memories of World War II, the emergence of the military-industrial complex, the postwar rewriting of the American landscape, and the relative insignificance of catastrophic nuclear war compared to America's involvement in postcolonial conflicts around the globe.