It was brought up in class discussion once that the real root of fear is not a fear of a monster, vampire, or mutated alien/bug creature. Instead we said that fear came from what these things represented. In some cases it was a fear of strange sounds that are caused in the dead of the night, or exaggerated visions of disgusting bugs creatures already found here on Earth. Whatever the source of the fear, it's here, and is in no hurry to leave. But there was something interesting that I found when we were watching The Brood in class. This was the fact that not only was there a sense of fear about what the represented, but there was at the same time a fear of them, of their physical repugnance. This was interesting because this was almost like a reverse dichotomy. Instead of the fear being broken down into its smaller parts, it was forged from two separate fears into one larger one. The two parts were a fear of the monstrous flesh that the children appeared as, and the rage and anger that they embodied and were born from. From this we can see how the movie The Brood, while not as savage and straightforward as today's horror movies, was able to capture and frighten an audience.
It is almost as if the horrific scenes in Cronenberg's movies are a violation of the taste of the filmmaker. Such scenes play with the expectations and mores of the audience. It is horrific when the characters killed in The Brood get their heads violently bashed in within the ultranormal settings of an upper-class home or a tidy schoolroom. It is horrific when Nola shows Frank her monstrous external "baby- and licks its blood sac while wearing a beautifully draped white natural linen dress that is almost fit for a nun. (N.U. p 91).
But that was not the only issue brought up in The Brood. As a matter of fact the underlying theme of this movie is the mad scientist, but not the same mad scientist theme that was shown in Frankenstein.
Between every action he pauses "halts, broods, prays, broods, gets to his feet, broods" merely to pass time. ... Whereas A broods between activities, B constantly consults his watch compass or map. ... The goad returns, pokes A twice, A crawls out "stops, broods, prays". ...
Because of the pain and suffering in her life, Ellen likes to draw pictures of brooding oceans. When thinking of what to draw for her Aunt and Cousin, she says, "I would really like to paint them one of my brooding oceans but they would miss the point..." ...
Listening to the band Coldplay while reading "People Like That Are the Only People Here" gave the story's tragedy a truly relevant soundtrack: "Questions of Science, science and progress Running in circles, Chasing tails, coming back as we are-(Coldplay, The Scientist). The circular swirl of pain...
Over the desolate area, known as the Valley of Ashes, brood the eyes of Dr. ... Eckleburg; he has created a god like image of himself, but the image is doomed- the dream will turn to dust- and like Eckleburg, Gatsby also has occasion to brood over the ashes of the past, over the solemn dumping ground of worn out hopes" (Lehan 121). ... Eckleburg, brooding over the Valley of Ashes, become what is left of the Son of God Gatsby has imagined himself to be. ...
The basis of corruption in Salem can be pointed in many directions, but none of the least at my client John Proctor. Corruption through personal gain, honesty, and political knowledge are just a few of the reasons why John proctor is innocent. The court needs to look beyond prior judgments and even...
Heathcliff is continually plotting his revenge for the poor treatment he has received from these characters due to their desires conflicting with his: the envious and brutal Hindley, who hates him from the moment he arrives at Wuthering Heights; the brooding and weak-willed Linton, who he holds responsible for stealing Catherine away; the ambitious and fiercely passionate Catherine, who Heathcliff initially believes has lost her love for him; and the infatuated, foolish Isabella Linton, whose innocence was destroyed by Heathcliff's rejection of her love. ...
The play had the advantage of referring to a well-known, highly dramatic story of a confrontation between two powerful personalities, both historically and spiritually significant.The story was taught to all as a central 'myth' of teh english nation. although Eliot chose not to focus his action upon the conflict of king and chancellor it broods over the play, putting pressures on Thomas and making the spiritual dilemma rael by providing it with its context in this world; the struggle between Henry and Thomas is embedded in the fabric of Eliot's play despite its not being the ac...
Conrad's frame narrator learns that his ideas about imperialism are founded on a number of lies about European imperialism that he wholeheartedly believed. At the end of the story, however, Marlow's tale significantly changes the narrator's attitude toward the men of the past. The narrator's desc...
