Monster iLock

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    Monster iLock

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    Monster iLock

    A Monster is any fictional creature, usually found in legends or horror fiction, that is often hideous and may produce fear or physical harm by either its appearance or its actions. The word "monster" derives from Latin monstrum, an aberrant occurrence, usually biological, that was taken as a sign that something was wrong within the natural order.[1]

    The word connotes something wrong or evil; a monster is generally morally objectionable, physically or psychologically hideous, and/or a freak of nature. It can also be applied figuratively to a person with similar characteristics like a greedy person or a person who does horrible things.

    During the age of silent movies, monsters tended to be human-sized, e.g., Frankenstein's monster, the Golem, werewolves and vampires. The film Siegfried featured a dragon that was actually a giant puppet on tracks. A few movie dinosaurs were created with the use of stop-motion animated models, as in RKO's King Kong, the first giant monster film of the sound era.

    Universal Studios specialized in monsters, with Bela Lugosi's reprisal of his stage role, Dracula, and Boris Karloff playing Frankenstein's monster. The studio also made several lesser films, such as Man-Made Monster, starring Lon Chaney, Jr. as a carnival side show worker who is turned into an electrically charged killer who dispatches victims merely by touching them, causing death by electrocution.

    There was also a variant of Dr. Frankenstein, the mad surgeon Dr. Gogol (played by Peter Lorre), who transplanted hands that were reanimated with malevolent temperaments, in the film Mad Love.

    Werewolves were introduced in films during this period, and similar creatures were presented in Cat People. Mummies were cinematically depicted as fearsome monsters as well. As for giant creatures, the Flash Gordon serial did not use a costumed actor, instead used real-life lizards to depict a large dragon via use of camera perspective. The cinematic monster cycle eventually wore thin, having a comedic turn in Abbott and Costello Meet Frankenstein (1948).

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