The commercial slogan of the biggest power authority in Monstropolis sounds like a common saying that could also be heard in our TV and Radio programmes. And this slogan is not the only odd similarity between our human world and the movieMonsters, Inc.(2001). The movie, one of the latest works developed by Pixar Animation Studios in cooperation with Walt Disney Pictures, is an animated movie for children that sets in a parallel universe, namely a world of monsters: Monstropolis. While this movie was not only extremely successful in the Box office and nominated for an Academy Award in 2002 for Best Animated Feature, there is a lot more to discover beyond its surface. Considering the fact that “Monsters, Inc.” is a movie made for young people, especially for little children (rated TV-G in the US) the film needs to meet some expectations. It is clear that this movie is supposed to be funny, entertaining and suitable for children. At the same time it should be fun for the whole family, not only for the kids, because the parents form the audience that pays for the movie. Additionally, movies for kids are generally expected to fulfil a pedagogical task, as most of Disney’s movies do. There is always the plea for tolerance, equality and kindness in Disney-films, like inMulan, TarzanorThe Beauty and the Beast.The story inMonsters, Inc.however, is set on a much more complex basis than the movies that have been produced by Disney so far. The image of the monster behind closet doors and under the beds of little children - usually rather nightmarish material - is used to create a whole world beyond the scary creatures.
This term paper serves to provide a closer look at how the monster is presented in the movie and how this typology can be compared to the common image or stereotype of a monster as well as providing a re-framing of the concept on the basis of monster theory in literature. There will also be a short discussion of how the characters in the movie are adopting human qualities while creating an everyday-life and whether this device is only applied in entertaining the audience. In a final step, there will be an examination on how this fact influences the story in an inverse manner and thus creates a comical and ironic view on the common concepts of a monster.
Table of Contents
1. Introduction
2. The Monster Concept: Definitions and Cultural Perspectives
3. Monstropolis: Everyday Life in a Monster World
4. Parody and Social Critique in Monsters, Inc.
5. The Inversion of Fears: Monsters vs. Humans
6. Conclusion
Objectives and Themes
This paper examines how the animated film Monsters, Inc. deconstructs traditional literary and cinematic tropes of the monster by juxtaposing them with mundane, human-like everyday life, while simultaneously offering a satirical critique of the entertainment industry and modern societal anxieties.
- Theoretical analysis of monster definitions in literature and film.
- Exploration of how Monsters, Inc. humanizes the monstrous archetype.
- Critique of media and corporate culture through the lens of parody.
- Examination of the inverse relationship between human and monster perceptions.
Excerpt from the Book
The Presentation of the Monster
Etymologically, the word “monster” derives from the Latin words monstro - which means to show or to point - and monstrum which bears the meaning of both miraculous and direful sign. So even though it does not necessarily have a negative connotation, the originally neutral meaning of the word has turned over the centuries into denoting a negative and threatening being, hence the first association with the term “monster” for many people would be a threatening ugly beast. For instance, famous monsters in literature and movies, such as Frankenstein’s monster, King Kong, Yeti or a zombie, others may think of fire-spitting, slimy, disgusting creatures with big teeth and claws that combine all possible personal fears and menaces. The monster emerged in the minds of human beings, describing what is different, alienated and mysterious.
The term, however, is often also used for humans. People who committed a very brutal or gruesome crime are sometimes called monsters. In doing so, they have even lost a part of their humanity, becoming “inhuman”. An example for that would be the recent movie “Monster” with Charlize Theron, where a female murderer is ostracized into a monster already by the title. Many years ago - but unfortunately sometimes also still in present days - disabled or mutilated people, even people of different races or ethnicities are labelled monsters. Everything that differs from “normality”, that mirrors diversity and disparity creates fear and distrust, so it becomes “monstrous”. However, the monster could not exist without the category of men as comparison.
Summary of Chapters
1. Introduction: This chapter introduces the film Monsters, Inc. and outlines the paper's intention to analyze the presentation of monsters and the film's subversion of the genre.
2. The Monster Concept: Definitions and Cultural Perspectives: This section explores the etymological roots of "monster" and discusses how humanity defines the monstrous in opposition to "normal" behavior.
3. Monstropolis: Everyday Life in a Monster World: This chapter analyzes how the film depicts the mundane, corporate life of monsters to deconstruct their traditionally scary nature.
4. Parody and Social Critique in Monsters, Inc.: This section discusses how the movie uses parody to comment on corporate culture, the entertainment industry, and societal anxieties.
5. The Inversion of Fears: Monsters vs. Humans: This chapter examines the reversal of roles where humans are portrayed as the source of fear for monsters.
6. Conclusion: This chapter summarizes the findings, highlighting how the film effectively uses a rational, human-like framework to demystify the classic scary creature.
Keywords
Monsters, Inc., Monster Theory, Monstropolis, Pixar, Animation, Alterity, Monstrosity, Parody, Corporate Culture, Cultural Studies, Film Analysis, Subversion, Humanization, Fear, Media Critique.
Frequently Asked Questions
What is the core subject of this paper?
The paper analyzes the film Monsters, Inc. to explore how it challenges traditional concepts of monstrosity and uses the monster archetype as a mirror for human society.
What are the primary thematic areas covered?
The main themes include the definition of monsters, the subversion of genre conventions, social critique of the entertainment industry, and the role of fear in society.
What is the primary objective of the study?
The objective is to demonstrate that Monsters, Inc. functions as an ironic commentary on the entertainment industry and a deconstruction of the "scary monster" trope.
Which scientific methodology is employed?
The paper uses film analysis and cultural studies, specifically applying monster theory and references to literature (such as Paul Goetsch) to interpret the film's narrative.
What does the main body of the work address?
It addresses the transition from monsters as terrifying beings to humorous, human-like characters, and how this shift reflects human anxieties and corporate structures.
Which keywords best characterize this work?
Key terms include Monsters, Inc., Monstrosity, Alterity, Parody, Corporate Culture, and Media Critique.
How does the film parody the entertainment industry?
The film parodies it by portraying the act of scaring children as a corporate business with career advancement, quotas, and mass media influence, mirroring real-world corporate pressures.
What is the significance of the character Boo in this analysis?
Boo represents the "other" and the unknown, acting as an innocent force that disrupts the monsters' structured world and triggers their irrational fear of the human child.
Why are the monsters in the film considered "humanized"?
They are humanized because they lead everyday lives, have jobs, experience interpersonal relationships, and deal with mundane problems like workplace competition and personal stress.
- Quote paper
- Andrea Schäfer (Author), 2006, How To Scare A Monster - The Philosophy of Monsters, Inc., Munich, GRIN Verlag, https://www.grin.com/document/68826
