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Unit 7 Time Machine Essay Werewolves By Amrit Chohan 23/04/12

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Contents Introduction.p3 Main Bodyp3-6 Conclusionp6 Illustrations.p7-8 Bibliography..p7-8

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Introduction
This assignment is upon werewolf culture. The sources that well be analysed is the curse of the werewolf Fantasy, Horror and the beast within (Chantal, 2006). Talking about werewolfs transformations and how it targets the audience. The next source is a lycanthropy reader: werewolves in western culture America (Otte, 1986). The next source is Werewolves Nigel (2006), little red riding hood uncloaked: sex, morality, and the evolution of a fairy tale, by Orenstein (2002). Other sources well be of the wolf man (1941) directed by George Wagner and the updated wolf man released in (2010) directed by Joe Johnston. The last source is of the American werewolf in London (1981). This is linked back to the wolfman (2010).

Main Body Werewolves are truly believed by people, but film makes wolves more believable do to actions created in films. Otte an author states A werewolf, one who has literally been transformed from a human being into a wolf, can best be shown on film, where fake brutal attacks, multiple murders, rape, torture, and cannibalism is cinematic tricks to horrify and mesmerize an audience that enjoys vicarious participation in fantasy violence and imaginary savagery. (Otte, 1986:1) werewolfs now are more viscous and horrific due to the special effects. But being changed in time wolfs become believable due to the artwork involved. Also the way the film is directed changes the picture. But in the 1800s stories that were told made wolves to be believable. But all actions that a werewolf can do such as the brutal attacks are just not real but a fantasy to make believe of revolution. As in the new era. The audience do find them more mesmerising do to the special effects and brutal attacks. Fantasy violence brings at visual content and stories. Such as wolfman (2010) the latest film of the wolfman has a more brutal strength due to the effects and the creative design of the wolfman. But In some way its connected to the old wolfman of (1941).

Fig 1: Wolfman This is a still image of the wolfman released in (2010) and directed by Joe Johnston. The image of the wolf is much life like due to its facial expression and the makeup brings it at much more than the old

p4 wolfman of (1941). The hair is quiet human looking brings at the detail of the face. The cloths that is manageable to see shows that it is from a human. What looks to be of a human. Natures age of society shows the modern fantasy of romanticism. Bourgault an author states Indeed, the imagery pastoral, pre-industrial, pre-modern societies that prevails in fantasy suggests its indebtedness to romanticism: a connection that also worked against it at a time when many critics had to come to associate romanticism with the politics of the far right (again, in spite of the fact that postmodernism theoretical perspectives owe a considerable debt to the romantic tradition). (Bourgault, 2006:135) romanticism is like a principle such as an emotion a human emotion that is created by an action. Which is when humans think imaginatively about the way nature can be evolved to the modern world. So romantic tradition is ways in which romance is shown in different perspectives. This can be of films such as the little red riding hood. As it brings at the ways of which imagination is used to tell different stories which go back to the 1800s of the little red riding hood. This shows that the theory of the story is based on sex references and shows that a small story is shown in tradition to a perspective. So over the years politics and tradition has been kept to principles of romanticism.

Fig2: Little red riding hood This is a still image of little red riding hood and a wolf playing the grandmother both in the bed. It has a very sexual content about it as the child has taken of most of her cloths and in bed. Until she seems to be threated of the wolf when she realises that its not her grandmother. This shows the simple mindedness of the child. The look of the child shows that she is threatened. Clearly being able to see the wolf and that the child doesnt the wolf is playing tricks to the child.

People tell stories in dark winters as this provides a better told landscape. Orenstein an author states Such spectacles and stories provide a clue to the mental landscapes of the past shared by those who told stories on dark winter nights around a fire, with perhaps a wolf or two howling in the background. (Orenstein, 2002:98) the clue as the wolf is howling or maybe two this could be a sign of the wolf being nearby. The people telling the story watch closely to these stories told. This may keep them entertained. So stories told give at the information to the people that are listening,

p5 which may relate to wolfs. Some landscapes that are told maybe an exaggeration as this told are a myth and are not real. But this is just imagination being told by someone, but told in the little red riding hood. It may be warning to the young girls just to be aware. Maybe stories are shared where werewolves are close by. As this may be a idea to principle. Females are symbols of being endangered but shows the simple innocence of females. Suckling a writer states From being an emblem of helpless and endangered female innocence, Little Red Hood has evolved into a proactive symbol of feminine assertion. (Suckling, 2006:79) red riding hood shows the simple minded females that stroll through the woods. When they see a glimpse of a wolf or maybe when females dont recognise the obvious until it is too late. This is when females in this situation ask the obvious like Grandmother, what great arms you have! That is to hug you the better, my dear. Grandmother, what great ears you have! That is to hear you the better, my dear. Grandmother, what great eyes you have! That is to see you the better, my dear. Grandmother, what a great mouth you have! (Miss Mulock) These are the obvious hints to tell you that females are simple. Thats only when it comes to little red riding hood. This greatly shows the symbol of pure innocence. Thats what makes red riding hood a classic.

A shepherd priest can be a guide to follow a group of wolfs. Jones a writer states One character is a shepherd priest, and in words to thrill any modern horror fan he boasts that at night he sometimes takes on the form of a wolf. He undergoes this transformation not to ravage the flocks, but rather to walk with the wolf pack and discover its intentions. (Jones, 2011) for a man who can have a wide imagination to think that he can transform and become a werewolf is just an exaggeration. A fan of werewolves in this era and these society thinkers of people believing in werewolves and thinking they can change into werewolves are of the edge. But people think that walking with a pack of wolfs just to discover a wolf intention. A wolfs intention would be about killing you and would not give you the time of day. People believing to transform into a werewolf is a good thing and being able to guide werewolves. So people have a wider imagination.

Lawrence bitten by a werewolf in the dark woods. Later the transformation begins being able to hear from distance. Johnston a writer states Lawrence is bitten by the lunar-tic creature the locals fear, and must confront the beast buried within himself. With its mist-shrouded sets, gruesome slaughter and copious CGI, this is a surprisingly respectful updating of the 1941 Universal original. Thanks to Rick Bakers make-up effects, Del Toros transformations from handsome lover to hairy, howling beast are frighteningly convincing.(Johnston, 2009) so yes from the original wolfman from 1941 Lawrence is bitten by a wolf and is feared by the locals of the village. So the effects used in the wolfman (2010) shows much more of a different approach to the makeup and the CGI. The more gruesome gore in this gothic take of the wolfman shows a higher impact of action and the

p6 development over the year of (1941) wolfman. Wolfman has changed dramatically. That CGI have changed the whole concept of the wolf. Thanks to Bakers great make-up effects it makes the wolf much more appealing and the wolfman being created again after 60 years is a huge step to the future of what evolution can do. How it changes wolfs now is a big step from 1941. An American werewolf in London directed by John Landis realised in (1981). The transformation is scarier and more horrifying because it has more of a believable look. Bradshaw a writer states But the all-important transformation scene is nowhere near as scary or impressive as the one in An American Werewolf in London from 1981, at least partly because the Wolfman itself is modelled on the flat-faced Lon Chaney original, so we don't get the snout--protrusion effect that was such a powerful part of the John Landis classic. (Bradshaw, 2010) so in the American werewolf its much more powerful and has bigger impact to the transformation as this is better in the sense of the body language and how each body parts of the character changed such as snout what showed more of an impact. The character played in the American werewolf in London (David Kessler) does play the character well and is very horrific this transformation does give you chills. So from the wolfman (2010) its not as creative as the 1981 American werewolf this shows more character as the transformation is taking into different segments. As the transformation I the wolfman was okay but as horrific as the 1981 film of the American werewolf in London.

Conclusion

Werewolves tell a story of wolves being driven to fantasy such in films. Over the years the effects used does make wolves more interesting in the sense making them look more real. In little red riding hood its true that females are a symbol of innocence and that females in wolf films such as little red riding hood brings wolfs more closer. Causing a danger to females causes hazards and are helpless when the obvious of running in the woods. Females do gives audience the hint to females being used in wolf films as this is symbolically used time and time again now in the present film of now. In this era societys such as fans that are believers of werewolfs like the films that contain CGI so its true that evenly enough the youngsters of the societys now like these types of werewolf films. As society now enjoy watching these films such as the wolfman (2010). Thanks to CGI, but older films such as the American werewolf in London (1981) show a better example to the main transformation. Original wolf films its better directed and better approached than the wolf man (2010).

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List of illustrations: Fig 1 wolfman http://www.comicbookmovie.com/fansites/tealogger/news/?a=14791 (Accessed on 21/04/12) Fig 2 Little red riding hood URL at: http://www.tonightsbedtimestory.com/little-red-riding-hood/ (Accessed on 21/04/12) Bibliography: Bourgault Chantal (2006) the curse of the werewolf Fantasy, Horror and the beast Within United Kingdom: London /New York URL at http://books.google.co.uk/books?id=_4BVWXNcNJoC&pg=PA135&lpg=PA135&dq=werewolf+roman ticism&source=bl&ots=-LA0tDRQBp&sig=lTbqNnpZgX03_EnBxViGDTYMYU&hl=en&sa=X&ei=TgJ7T4WLAorW0QXiuvTGCQ&ved=0CDEQ6AEwAg# v=onepage&q=werewolf%20romanticism&f=false (Accessed on 21/04/12) Orenstein Catherine (2002) little red riding hood uncloaked: sex, morality, and the evolution of a fairy tale United States of America: New York URL at: http://books.google.co.uk/books?id=CnVa4IvSCiQC&pg=PA98&dq=werewolf+little+red+riding+hood &hl=en&sa=X&ei=wsOST4ifKYjE8QPauq3ODA&redir_esc=y#v=onepage&q=werewolf%20little%20re d%20riding%20hood&f=false (Accessed on 21/04/12) Suckling Nigel (2006) Werewolves United Kingdom: London URL at: http://books.google.co.uk/books?id=Ca_bd_GItUC&pg=PA78&dq=werewolf+little+red+riding+hood&hl=en&sa=X&ei=wsOST4ifKYjE8QPa uq3ODA&redir_esc=y#v=onepage&q=werewolf%20little%20red%20riding%20hood&f=false (Accessed on 21/04/12)

p8 Charlotte F.Otte (1986) a lycanthropy reader: werewolves in western culture America: New York URL at: http://books.google.co.uk/books?id=iUJIB6pGSRsC&pg=PA3&dq=werewolf+lycanthrope&hl=en&sa= X&ei=SLSST-GPM9T08QOSkZXODA&redir_esc=y#v=onepage&q=werewolf%20lycanthrope&f=false (Accessed on 21/04/12)

Jonathan Jones (2011) the guardian URL at http://www.guardian.co.uk/artanddesign/jonathanjonesblog/2011/may/18/werewolvesrenaissance-art (Accessed on 21/04/12)

Nigel Floyd (2009) timeout London URL at: http://www.timeout.com/film/reviews/87329/the-wolfman.html (Accessed on 21/04/12)

Peter Bradshaw (2010) the guardian URL at: http://www.guardian.co.uk/film/2010/feb/11/the-wolfman-review (Accessed on 22/04/12)