Beginning with celebrated classics, the author locates King Kong (1933) within the era of lynching to evince how the film protects whiteness against supposed aggressions of a black predator and reviews The Wizard of Oz (1939) as a product of the Depression's economic anxieties. From there, the study moves to the cult classic animated Sinbad Trilogy (1958-1977) of Ray Harryhausen, films rampant with xenophobic fears of the Middle East as relevant today as when the series was originally produced. Advancing to more recent subjects, the author focuses on the image of the monstrous woman and the threat of reproductive freedom found in Aliens (1986), Jurassic Park (1993), and Species (1995) and on depictions of the mentally ill as dangerous deviants in 12 Monkeys (1996) and The Cell (2000). An investigation into physical freakishness guides his approach to Edward Scissorhands (1990) and Beauty and the Beast (1991).

Employing a range of approaches to examine how "monster-talk" pervades not only popular culture but also public policy through film and other media, this book is a "one-stop shop" of sorts for students and instructors employing various approaches and media in the study of "teratologies," or discourses of the monstrous.

Monsters are a part of every society, and ours is no exception. They are deeply embedded in our history, our mythos, and our culture. However, treating them as simply a facet of children’s stories or escapist entertainment belittles their importance. When examined closely, we see that monsters have always represented the things we fear: that which is different, which we can’t understand, which is dangerous, which is Other. But in many ways, monsters also represent our growing awareness of ourselves and our changing place in a continually shrinking world. Contemporary portrayals of the monstrous often have less to do with what we fear in others than with what we fear about ourselves, what we fear we might be capable of. The nineteen essays in this volume explore the place and function of the monstrous in a variety of media – stories and novels like Baum’s Oz books or Gibson’s Neuromancer; television series and feature films like The Walking Dead or Edward Scissorhands; and myths and legends like Beowulf and The Loch Ness Monster – in order to provide a closer understanding of not just who we are and who we have been, but also who we believe we can be – for better or worse.

From the chilling threats of the "ISIS vampire" to the view of al-Qaeda as the "Frankenstein the CIA created," terrorism seems to be inextricably bound with monstrosity. But why do the media and government officials often portray terrorists as monsters? And perhaps more puzzling, why do terrorists sometimes want to be perceived as such? This book, the first of its kind, examines the use of archetypal metaphors of monstrosity in relation to terrorism, from the gorgons of Robespierre's "reign of terror" to the dragons and lycanthropes of anarchism, the beasts and blood-licking demons of ethnonational terrorism, and the hydras and Frankenstein's monsters of Islamic jihadism. Marco Pinfari argues that politicians frame terrorists as unmanageable monsters not only in an effort at cultural "othering" and dehumanization, but also to secure popular backing for rule-breaking behavior in counter-terrorism. The book also explores the way that terrorists themselves impersonate monsters, showing that several groups have pursued such a tactic throughout the history of terrorism. It contributes to a number of ongoing public debates by highlighting how, even when actors like the Islamic State present themselves as mad and irrational, their tactics remain in essence rational. Pinfari also provides an original historical outlook on the roots of monster metaphors and discusses several types of terrorism, including state terrorism, left-wing terrorism, anarchism, ethnonationalist terrorism, and white supremacist groups. In unpacking the functions played by monster metaphors and by their impersonation, Terrorists as Monsters helps the reader understand the political processes that hide behind the fangs.

Contradictory to its core, the sitcom—an ostensibly conservative, tranquilizing genre—has a long track record in the United States of tackling controversial subjects with a fearlessness not often found in other types of programming. But the sitcom also conceals as much as it reveals, masking the rationale for socially deviant or deleterious behavior behind figures of ridicule whose motives are rarely disclosed fully over the course of a thirty-minute episode. Examining a broad range of network and cable TV shows across the history of the medium, from classic, working-class comedies such as The Honeymooners, All in the Family, and Roseanne to several contemporary cult series, animated programs, and online hits that have yet to attract much scholarly attention, this book explores the ways in which social imaginaries related to “bad behavior” have been humorously exploited over the years. The repeated appearance of socially wayward figures on the small screen—from raging alcoholics to brainwashed cult members to actual monsters who are merely exaggerated versions of our own inner demons—has the dual effect of reducing complex individuals to recognizable “types” while neutralizing the presumed threats that they pose. Such representations not only provide strangely comforting reminders that “badness” is a cultural construct, but also prompt audiences to reflect on their own unspoken proclivities for antisocial behavior, if only in passing.

From vampires and demons to ghosts and zombies, interest in monsters in literature, film, and popular culture has never been stronger. This concise Encyclopedia provides scholars and students with a comprehensive and authoritative A-Z of monsters throughout the ages. It is the first major reference book on monsters for the scholarly market. Over 200 entries written by experts in the field are accompanied by an overview introduction by the editor. Generic entries such as 'ghost' and 'vampire' are cross-listed with important specific manifestations of that monster. In addition to monsters appearing in English-language literature and film, the Encyclopedia also includes significant monsters in Spanish, French, Italian, German, Russian, Indian, Chinese, Japanese, African and Middle Eastern traditions. Alphabetically organized, the entries each feature suggestions for further reading. The Ashgate Encyclopedia of Literary and Cinematic Monsters is an invaluable resource for all students and scholars and an essential addition to library reference shelves.

Working Juju examines how fantastical and unreal modes are deployed in portrayals of the Caribbean in popular and literary culture as well as in the visual arts. The Caribbean has historically been constructed as a region mantled by the fantastic. Andrea Shaw Nevins analyzes such imaginings of the Caribbean and interrogates the freighting of Caribbean-infused spaces with characteristics that register as fantastical. These fantastical traits may be described as magical, supernatural, uncanny, paranormal, mystical, and speculative. The book asks throughout, What are the discursive threads that run through texts featuring the Caribbean fantastic? In Working Juju, Nevins teases out the multilayered and often obscured connections among texts such as the Pirates of the Caribbean film series, planter and historian Edward Long’s History of Jamaica, and Grenadian sci-fi writer Tobias Buckell’s Xenowealth series set in the future Caribbean. Fantastical representations of the region generally occupy one of two spaces. In the first, the Caribbean fantastic facilitates an imagining of the colonial experience and its aftermath as one in which the region and its representatives exercise agency and in which the humanity of the region’s inhabitants is asserted. Alternately, the fantastic is sometimes situated as a signifier of the irrational and uncivilized. The thread that unites portrayals of the fantastic Caribbean in the latter kind of works is that they tend to locate Caribbean belief systems as powerful, even at times inadvertently in contradiction to the text’s ideological posture. Nevins shows how the singular “Caribbean” identity that emerges in these text is at odds with the complex historical narratives of actual Caribbean countries and colonies.