Argue whether or not Jeffrey Cohen’s seven theses on Monster’s Culture are valid and effective way to analyze society.

Argue whether or not Jeffrey Cohen’s seven theses on Monster’s Culture are valid and effective way to analyze society. please inlcude 3 outside resources of monsters, actors, movies, or books, etc.


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Essay 4: Using a Text as a Lens (Synthesis)
Important Dates
Final Draft Due: Monday 5/14
Rough Draft Copies for Peer Review Due: 5/2
Academic Summaries Due: Monday 4/30
Essay Conference: ________________________
o You are expected to turn in your: thesis proposal, academic
summaries, rough draft, final draft, and to submit the final draft
to Vericite.
o Your essay is considered incomplete if it is missing any of these components.
I will not accept late or incomplete essays without an extension.
o Use all phases of the writing process to create a largely error free essay,
understand and use an academic article to analyze an element of culture, research,
synthesize, integrate, and contextualize multiple outside sources (through
quotations, paraphrasing, and summary) with their own voice, analysis, or
position, while avoiding plagiarism. Employ a variety of organizational patterns
to support or advance central ideas (theses/claims).
Minimum Length
o 7-10 pages
Prompt: Your goal is to argue whether or not Cohen’s theses are valid â?? that this
argument is or is not an effective way of analyzing society.
Grade Breakdown for Essay 4
Academic Summary of at
least 3 Outside Sources
Rought Draft
Final Draft of Essay 4
Successful essays will do this by:
Including an introduction that draws in the reader, briefly introduces Cohen and
the topic of your essay, and has a clear thesis that states your argument and signals
a plan for the essay.
Creating a literature review that establishes and explains Cohen’s theories in a
body paragraph. Summarize his main argument, claims, and evidence. Discuss his
ideas as if you were explaining them to someone who was unfamiliar with the
text. In your literature review, you only have to discuss the theses, you are going
to use in your essay. (You do NOT have to address all seven of his theses, only the
ones that apply to your monsters.)
Finding at least three different monsters of your own to prove or disprove
Cohen’s theses. (You may also focus on three different interpretations of the same
monster. Example: Zombies from Night of the Living Dead 1968, Zombieland
2009, and Warm Bodies 2013). You could use movie monsters, TV monsters,
literary monsters, mythical or fairy tale monsters, and/or real, historical monsters.
The choice is yours. This section of the paper will be where you include your
outside sources to strengthen your analysis.
o Consider any of the movies or texts we have watch or read so far for your
§ Examples: Bellwether or the predators from Zootopia,
Fundamentalists from Persepolis, Captain Vidal or The Pale Man
from Pan’s Labrynth
Including at least three outside sources to strengthen your argument. The three
sources must be in addition to Cohen’s chapter â?? find a mix of peer reviewed and
popular sources that support your analysis of the monsters and society. Don’t just
rely on your interpretations and opinions â?? find others who agree with you! Your
outside sources should be connected to your monsters in that they support your
understanding of the monsters you have chosen.
o Look for these outsides sources through Cuyamacaâ??s Library:
o If you need help finding outside sources that fit these requirements, please
contact me.
o Feel free to also use any of the readings, podcasts, and TED Talks I have
already assigned for this paper as well.
Including vivid and specific details when describing the monsters you have
chosen, and tie your examples to Cohen’s theses (you do NOT have to address all
seven of his theses, only the ones that apply to your monsters).
Synthesizing by combing information from different sources to inform and
support a greater understanding of your
Finishing with a conclusion that restates your
thesis, reviews your body paragraphs, and a
final though, prediction, piece of advice,
something you learned or realized or the
answer to a question you posed earlier.
Suggested Formats for Your Essay
By Monster Format
By Theses (Cohenâ??s) Format
Paragraph 1: Introduction
Paragraph 1: Introduction
Paragraph 2: Literature Review
Paragraph 2: Literature Review
Paragraph 3: Monster 1
Paragraph 3: Cohenâ??s Thesis
Paragraph 4: Monster 2
Paragraph 4: Cohenâ??s Thesis
Paragraph 5: Monster 3
Paragraph 5: Cohenâ??s Thesis
Paragraph 6: Conclusion
Paragraph 6: Conclusion
*You may have one or more paragraph
*Depending on how many of Cohenâ??s
per monster.
theses you decide to use will dictate how
*This format is a better choice if you are
many body paragraphs you will have.
using different or more than one of the
* This format is a better choice if you
theses per monster.
have different monsters that prove the
*This format is also a better choice if
you are choosing three different types of
the same monster.
same thesis.
Words to Use in Your Synthesis Paper
â?¢ affirms
â?¢ adds
â?¢ argues
â?¢ reveals
â?¢ confirms
â?¢ states
â?¢ contends
â?¢ mentions
â?¢ denies
â?¢ finds
â?¢ disagrees
â?¢ verifies
â?¢ believes
â?¢ concedes
â?¢ insists
â?¢ alleges
â?¢ rejects
â?¢ warns
â?¢ responds
â?¢ advises
â?¢ emphasizes
â?¢ admits
â?¢ complains
â?¢ holds
â?¢ predicts
â?¢ proposes
â?¢ acknowledges
â?¢ speculates
â?¢ suggests
(//ja/l(o 7
Did I request thee, Maker,jrom my clay
To mold me man? Did I solicit thee
From darkness to promote me?Jou.’! ;v1i1:10:–r. f’.,k
â??Why We Crave Horror Moviesâ?
By Stephen King
First Published in Playboy magazine in 1981
I think that weâ??re all mentally ill; those of us outside the asylums only hide it a little better â?? and
maybe not all that much better, after all. Weâ??ve all known people who talk to themselves, people who
sometimes squinch their faces into horrible grimaces when they believe no one is watching, people who
have some hysterical fear â?? of snakes, the dark, the tight place, the long drop . . . and, of course, those
final worms and grubs that are waiting so patiently underground.
When we pay our four or five bucks and seat ourselves at tenth-row center in a theater showing
a horror movie, we are daring the nightmare.
Why? Some of the reasons are simple and obvious. To show that we can, that we are not afraid,
that we can ride this roller coaster. Which is not to say that a really good horror movie may not surprise
a scream out of us at some point, the way we may scream when the roller coaster twists through a
complete 360 or plows through a lake at the bottom of the drop. And horror movies, like roller coasters,
have always been the special province of the young; by the time one turns 40 or 50, oneâ??s appetite for
double twists or 360-degree loops may be considerably depleted.
We also go to re-establish our feelings of essential normality; the horror movie is innately
conservative, even reactionary. Freda Jackson as the horrible melting woman in Die, Monster, Die!
confirms for us that no matter how far we may be removed from the beauty of a Robert Redford or a
Diana Ross, we are still light-years from true ugliness.
And we go to have fun.
Ah, but this is where the ground starts to slope away, isnâ??t it? Because this is a very peculiar
sort of fun, indeed. The fun comes from seeing others menaced â?? sometimes killed. One critic has
suggested that if pro football has become the voyeurâ??s version of combat, then the horror film has
become the modern version of the public lynching.
It is true that the mythic â??fairy-taleâ? horror film intends to take away the shades of gray . . . . It
urges us to put away our more civilized and adult penchant for analysis and to become children again,
seeing things in pure blacks and whites. It may be that horror movies provide psychic relief on this
level because this invitation to lapse into simplicity, irrationality and even outright madness is extended
so rarely. We are told we may allow our emotions a free rein . . . or no rein at all.
If we are all insane, then sanity becomes a matter of degree. If your insanity leads you to carve
up women like Jack the Ripper or the Cleveland Torso Murderer, we clap you away in the funny farm
(but neither of those two amateur-night surgeons was ever caught, heh-heh-heh); if, on the other hand,
your insanity leads you only to talk to yourself when youâ??re under stress or to pick your nose on your
morning bus, then you are left alone to go about your business . . . though it is doubtful that you will
ever be invited to the best parties.
The potential lyncher is in almost all of us (excluding saints, past and present; but then, most
saints have been crazy in their own ways), and every now and then, he has to be let loose to scream and
roll around in the grass. Our emotions and our fears form their own body, and we recognize that it
demands its own exercise to maintain proper muscle tone. Certain of these emotional muscles are
accepted â?? even exalted â?? in civilized society; they are, of course, the emotions that tend to maintain
the status quo of civilization itself. Love, friendship, loyalty, kindness â?? these are all the emotions that
we applaud, emotions that have been immortalized in the couplets of Hallmark cards and in the verses
(I donâ??t dare call it poetry) of Leonard Nimoy.
When we exhibit these emotions, society showers us with positive reinforcement; we learn this
even before we get out of diapers. When, as children, we hug our rotten little puke of a sister and give
her a kiss, all the aunts and uncles smile and twit and cry, â??Isnâ??t he the sweetest little thing?â? Such
coveted treats as chocolate-covered graham crackers often follow. But if we deliberately slam the
rotten little puke of a sisterâ??s fingers in the door, sanctions follow â?? angry remonstrance from parents,
aunts and uncles; instead of a chocolate-covered graham cracker, a spanking.
But anticivilization emotions donâ??t go away, and they demand periodic exercise. We have such
â??sickâ? jokes as, â??Whatâ??s the difference between a truckload of bowling balls and a truckload of dead
babies?â? (You canâ??t unload a truckload of bowling balls with a pitchfork . . . a joke, by the way, that I
heard originally from a ten-year-old.) Such a joke may surprise a laugh or a grin out of us even as we
recoil, a possibility that confirms the thesis: If we share a brotherhood of man, then we also share an
insanity of man. None of which is intended as a defense of either the sick joke or insanity but merely as
an explanation of why the best horror films, like the best fairy tales, manage to be reactionary,
anarchistic, and revolutionary all at the same time.
The mythic horror movie, like the sick joke, has a dirty job to do. It deliberately appeals to all
that is worst in us. It is morbidity unchained, our most base instincts let free, our nastiest fantasies
realized . . . and it all happens, fittingly enough, in the dark. For those reasons, good liberals often shy
away from horror films. For myself, I like to see the most aggressive of them â?? Dawn of the Dead, for
instance â?? as lifting a trap door in the civilized forebrain and throwing a basket of raw meat to the
hungry alligators swimming around in that subterranean river beneath.
Why bother? Because it keeps them from getting out, man. It keeps them down there and me up
here. It was Lennon and McCartney who said that all you need is love, and I would agree with that.
As long as you keep the gators fed.

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