Alhamza1 Husain Alhamza Miss.Bennett Composition II March 6,2017 Monstrosity in the Media The media plays a valuable role in forming, and the regulation monstrosity. Over the decades. How people represent monsters and ideas of monstrosity in the media has went through many alterations and modifications. Customarily, the media had an image about monsters and painted it to the world, showing monsters as intimidating others and connected monsters to violence and unspeakable behaviors. Though, the picture of monstrosity in the media has went through many renovation, where monsters are seen as a kind of romantic heroes. According to Cohen, monsters embody meaning machines, which affirms their adaptability (11). They are tamed so they are not meaning carefully monstrous. Since the public tends to be highly fond by monsters, the media twist, and reforms them into beautiful celebrities. A lot of monster media plays with the psychological warfare with the idea of the monsters in our view points. Everyone looks to what makes them afraid, and what leaves them with nightmare through a different eye. Some movies such as The Chainsaw Massacre are just for mental scares, because you never see blood. You just hear the screams and terror from the voices of the victims through the shadows. While there are many and unique types of monsters, they come in all kind of shape or form. The idea of monsters began with seeing them as people with mutations. I believe we all have a monster living within us, and we get scared when we take a peek inside others or the monsters in movies because they do not act like us, and are very unpredictable. That is why horror films and monsters conspiracy so much because fairly they are an unrepeatable part of us. The popular culture and entertainment media portrays a universal presence of monsters. The concluding, in this aspect, represent creatures that are deemed so ugly as to scare people. A monster can also be defined as a creature or object that puts horror and makes people quiver with fear by brutality or mischief. The media illustrate monsters as having astonishing capabilities and skills that permits their fame or superstitious status. In the last years, there has been a flow in movies and on television shows that feature monstrous characters, including zombies, vampires, witches, werewolves, and wraiths. At the same time, the representation of monsters in the media has moved, given that the vampire is no longer seen as a monster, but as a misunderstood creature with feelings of sorrow. The accomplishment of recent television shows, such as The Vampire Diaries (2009), HBO’s True Blood (2008), and The TwilightSaga (2009-2012), have sparked fame within the world of monsters who hang on to remnants of their humanity (Somogyi and David 197). In the film, “A History of Horror with Mark Gatiss (Part 1 of 3) Frankenstein goes to Hollywood,” the narrator notes that modern horror films and the monsters within symbolize the bottl.

1. Alhamza1
Husain Alhamza
Miss.Bennett
Composition II
March 6,2017
Monstrosity in the Media
The media plays a valuable role in forming, and the regulation
monstrosity. Over the decades. How people represent monsters
and ideas of monstrosity in the media has went through many
alterations and modifications. Customarily, the media had an
image about monsters and painted it to the world, showing
monsters as intimidating others and connected monsters to
violence and unspeakable behaviors. Though, the picture of
monstrosity in the media has went through many renovation,
where monsters are seen as a kind of romantic heroes.
According to Cohen, monsters embody meaning machines,
which affirms their adaptability (11). They are tamed so they
are not meaning carefully monstrous. Since the public tends to
be highly fond by monsters, the media twist, and reforms them
into beautiful celebrities.
A lot of monster media plays with the psychological warfare
with the idea of the monsters in our view points. Everyone
looks to what makes them afraid, and what leaves them with
nightmare through a different eye. Some movies such as The
Chainsaw Massacre are just for mental scares, because you
never see blood. You just hear the screams and terror from the
voices of the victims through the shadows. While there are
many and unique types of monsters, they come in all kind of
shape or form.
The idea of monsters began with seeing them as people with
mutations. I believe we all have a monster living within us, and
we get scared when we take a peek inside others or the monsters
in movies because they do not act like us, and are very

2. unpredictable. That is why horror films and monsters conspiracy
so much because fairly they are an unrepeatable part of us.
The popular culture and entertainment media portrays a
universal presence of monsters. The concluding, in this aspect,
represent creatures that are deemed so ugly as to scare people.
A monster can also be defined as a creature or object that puts
horror and makes people quiver with fear by brutality or
mischief. The media illustrate monsters as having astonishing
capabilities and skills that permits their fame or superstitious
status. In the last years, there has been a flow in movies and on
television shows that feature monstrous characters, including
zombies, vampires, witches, werewolves, and wraiths. At the
same time, the representation of monsters in the media has
moved, given that the vampire is no longer seen as a monster,
but as a misunderstood creature with feelings of sorrow. The
accomplishment of recent television shows, such as The
Vampire Diaries (2009), HBO’s True Blood (2008), and The
TwilightSaga (2009-2012), have sparked fame within the world
of monsters who hang on to remnants of their humanity
(Somogyi and David 197).
In the film, “A History of Horror with Mark Gatiss (Part 1 of 3)
Frankenstein goes to Hollywood,” the narrator notes that
modern horror films and the monsters within symbolize the
bottled-up collective desires, nightmares, and worries. As such,
it can be argued that they allow the society to address and
overcome its unconscious terrors. Nevertheless, they no longer
portray monstrosity as evil and wicked. According to Cooper
and Blake, the media paints' monsters as outlaws that live
outside of the laws and rules of the society (235).
The resemblances of monsters in the media shows that there is
no doubts in the media of representing monstrosity as which
they attracts widespread public attention. There is a wide point
of views when it comes to the interpretation of monstrosity. The
straight media’s representation, for example, suggests that there
is a sense of violence qualities. Cooper and Blake contend that
monster narratives in the media epitomize the dichotomy of

3. good versus evil, which plays a significant role through the
establishment of boundaries between humanity and monstrosity
(16). Cooper and Blake argue that monstrosity functions as a
tool for understanding ourselves (9). I agree with Cooper and
Blake that the media representation of monstrosity is reflective
of the society’s anxieties and value systems.
On the other side of the coin, the monsters offer a reflection so
that we, humans, can see the other part of ourselves. The media
ways of painting monstrosity is not different than the way of
criminals. Monstrosity and celebrity are parallel for each lives
outside of our world. Hence, celebrities’ show what is to be
anticipated, Repeated Stem and monstrosity show to the
consequences of taking the desire repeated Stem too far. Each
culture requires a person who booms at the limits of social
maps. According to Somogyi and David, the media depict
monsters as intrinsically rehabilitative figures (197).
Personally, I do not view monsters as naturally reconstructive.
Monsters may carry the possibility to threaten the conservative
distinctions between them and human beings as well as between
life and death, but the monstrous discourses provide a means to
map out proper behavior and cultural identity, which suggests
that making monsters is an essential public hygiene. The
Unclear sentence narrative of the monster figure teaches people
within the boundaries of a civilized society by lighting up
where such limits lie and demonstrating what happens when
they are crossed.
In conclusion, the way people make the illustration of monsters
is an everyday in today’s media and society that shows monsters
with synchronized, dislike, and attraction. Hence, typical
monsters have become less aggressive and dangerous, and are
now exposed to a process of humanization in line with rising
acceptance of social outsiders. Truly, the media’s demonstration
of monstrosity is not wholly about brutality, cruelty, and defect
given that monsters are instruments of innovation.
.

4. .
Works Cited
Blake, Brandy Ball, and L Andrew Cooper. “Monsters.”
Monsters, Fountainhead Press, Southlake, TX, 2012, pp. 11–
235.
Bleachershane. “A History of Horror with Mark Gatiss (Part 1
of 3) Frankenstein Goes to Hollywood.” YouTube, YouTube, 2
Jan. 2014, https://www.youtube.com/watch?v=zkzbjd4utlm.
Bucciferro, Claudia. “The Twilight Saga: Exploring the Global
Phenomenon.” The Twilight Saga: Exploring the Global
Phenomenon, pp. 197–197.
Ethical Issue: Reclassification of Receivables
Respond to the following ethical issue concerning the
reclassification of receivables in your initial post:
Moss Exports is having a bad year. Net income is only $60,000.
Also, two important overseas customers
are falling behind in their payments to Moss, and Moss's
accounts receivable are ballooning.
The company desperately needs a loan. The Moss Exports board
of directors is considering ways to put
the best face on the company's financial statements. Moss's
bank closely examines cash flow from
operations. Daniel Peavey, Moss's controller, suggests
reclassifying as long-term the receivables from
the slow-paying clients. He explains to the board that removing
the $80,000 rise in accounts receivable
from current assets will increase net cash provided by
operations. This approach may help Moss get the

5. loan.
1. Using only the amounts given, compute net cash provided by
operations, both without and with the
reclassification of the receivables. Which reporting makes Moss
look better?
2. Under what condition would the reclassification of the
receivables be ethical? Unethical? Support your
response.
Due 3/10/17