Category Archives: Student Life

Mikala Mikrut: The Best Way to Speak to a Monster is From a Distance


Text by Mikala Mikrut, Copyright 2019

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Artwork by Christopher Suciu, Copyright 2019

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The Best Way to Speak to a Monster is From a Distance

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Humans have always feared the unknown. More often than not, it meant death. Throughout time, the term “monster” has been used to explain the inexplicable whether it was a strange shape or sound coming from an unexplored part of the woods or the man who will abandon all sense of morals to get to where he wants to be. Monster is such a broad term that Webster’s Dictionary defines it both as “an animal or plant of abnormal form or structure” and “one who deviates from normal or acceptable behavior or character,” which makes sense given that both of these examples are out of the norm. Monsters matter because they are a category in which society sorts the misfits, the unexamined, and the suspicious; there are exceptions to every rule and monsters are the outliers from whatever is perceived as “right.”

There is a certain fascination that comes with witnessing something out of the ordinary. While women in the 1400s would hide their children behind their skirt to shield them from beholding a deformed man on the street, they would have no problem with paying money to observe him behind bars or glass. Putting a barrier or separation between normal people and mysterious forces makes them appear less realistic and thus safer. It is with this feeling of safety that people will engage in activities such as walking through haunted houses or watching horror movies. If they know they won’t get hurt, then the fear is an exciting rush rather than a question of survival. Stephen King, American horror author, argues that “we’re all mentally ill,” (King, 16) and that perhaps the fear factor is braved to prove that it can be done. But more likely, it is “to re-establish our feelings of essential normality,” (King, 16) because the people in the theater screaming at a screen to run away are far more sane than an actress knowingly advancing towards a monster. It is the monster that is used as a platform to define normality and make the average Joe feel like at least they’re doing something right; so long as they’re not dripping with green goo or hiding in a teenage girl’s closet with a knife, they’re succeeding at life.

This has been the mindset for centuries. Daniel Cohen, French economist and professor, brings to light how the Aztecs and the Incas were terrified at the sight of men on horses (Cohen). Having never fathomed the relationship, they assumed the two bodies were one, yet again using that term, monster, to define something unknown. But even way back then, the people were fascinated by monsters when it meant they wouldn’t have to be faced. Cohen talks about how “griffin’s claws or the roc’s eggs were brought back” (Cohen, 139) from travels, making people believe that these creatures were real. They would buy these things valuing them as exotic and maybe even magical without even questioning why they resembled why perhaps their “feathers” looked like palm leaves or why their “griffin’s claws” resembled animal tusks or horns. People just couldn’t resist believing that there were rare creatures out in the parts of the world they wouldn’t dare to venture; the idea of the unknown is scary and exciting, but the actual notion of leaving home could mean danger or even death. So why risk it? Venturing the unknown is hardly celebrated.

That’s why most people’s interaction with something they’ve never seen before or those woods that just don’t feel right to be around are from the comforts of their own home or theaters. Horror movies satisfy the curiosity of what lies beyond Nancy’s humdrum nine to five office job. Given that the horror genre observes the weird and creepy, it makes sense that the people who work on them aren’t considered on the same spectrum when it comes to artistry. Michael Varrati, American screenwriter, columnist and actor, has written an article that examines just that. He believes it’s absolutely absurd that people who make monsters possible in cinema and literature are “routinely looked down upon by the ‘real’ artists,” (Varrati, 1) how could a comedy be viewed as any more or less artistic than horror? Well, because comedy involves believable characters in normal or at least semi-realistic situations. Horror is laughable simply because creatures are strange, they’re intriguing but not worth more than an prolonged glance of judgement. Again, the point of people still giving monsters their attention in this modern world is to remind themselves how normal and socially accepted they are.

A more concise example would be Frankenstein’s monster in Mary Shelley’s Frankenstein. This creature is certainly hideous, even learning language and emotion doesn’t stop people from fearing his grotesque presence. Zoe Beenstock wrote an article in which she addresses “whether individualism can produce sociability,” (Beenstock, 1). She doesn’t shy away from revealing the natural contradiction of human tolerance. It is often assumed that accepting others and celebrating individuality and differences is taught from childhood; and yet there are still hate crimes and separation. What people view as monstrous is that which is unfamiliar to them.

So perhaps humanity has not made so much progress in understanding others and the world after all. But that is okay, because the world is so vast that what really matters is that humanity consistently puts its efforts towards understanding and improving. In conclusion, monsters matter because they are a reflection of what is not yet understood and are the basis on which people judge normality. Without monsters, people would be left to judge themselves and their personal flaws and immoral behaviors. Monsters are a scape goat, something to point a finger at and say, “Well, at least I’m not THAT thing.”

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Works Cited

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Beenstock, Zoe. “Lyrical Sociability: The Social Contract and Mary Shelley’s

Frankenstein.” Philosophy & Literature, vol. 39, no. 2, Oct. 2015, pp. 406-421.

EBSCOhost,proxy.li.suu.edu:2443/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=aph&AN=115185220&site=ehost-live.

Cohen, Daniel. “The Birth of Monsters.” Monsters, edited by Andrew J. Hoffman, Bedford/St.

Martins, 2016, 134-139.

King, Stephen. “Why We Crave Horror Movies.” Monsters, edited by Andrew J. Hoffman,

Bedford/St. Martins, 2016, 16-18.

“Monster.” Merriam-Webster, Merriam-Webster,www.merriamwebster.com/dictionary/monster.

Varrati, Michael. “Unfairly Maligned Monsters: Why Horror Matters.” The Huffington Post,

TheHuffingtonPost.com, 20 Apr. 2012, www.huffingtonpost.com/michael-varrati/horror

movies-books_b_1441467.html.

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Mikala: Photographed by Tony Ward. Copyright 2019

Mikala: Photographed by Tony Ward. Copyright 2019

About The Author: Mikala Mikrut is a sophomore enrolled at Southern Utah University. To access additional articles by Mikala Mikrut, click here: http://tonywardstudio.com/blog/mikala-mikrut-change/

 

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Kiera Roberto: Saving Daisy


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SYNOPSIS
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Text and Video by Kiera Roberto, Copyright 2018
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Saving Daisy will pick up where the Netflix film “Audrie & Daisy” left off.  This short documentary will follow Daisy Coleman’s journey of healing from lifelong trauma and Post Traumatic Stress Disorder, through treatment using EMDR (eye movement desensitization reprocessing) Therapy. 

Millions of people from all over the world came to learn about Daisy’s sexual assault when her story went viral and was followed by a feature length documentary.  But that was only the beginning of her journey as a survivor.  With this film, Daisy has joined forces with a team of filmmakers and fellow survivors to follow her vulnerable PTSD recovery process, in an effort to inspire other survivors and their families in recovery.  We will follow her through her EMDR treatment to unlock the layers of trauma from her assault, the tragic death of her father prior to the assault, as well as the recent sudden loss of her younger brother.  Daisy has faced more trauma in her 21 years than anyone should ever be faced with in a lifetime, but this film will prove to survivors everywhere that healing is possible.

This film will become part of the learning tools offered by SafeBAE, the national organization that Daisy helped to found in 2015, which works to prevent sexual assault among teens. 

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Please donate. Link to Kickstarter fundinghttps://www.kickstarter.com/projects/200266748/saving-daisy

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Kiera Roberto: Fimmaker/Producer. Hollywood

Kiera Roberto: Fimmaker/Producer. Hollywood

About The Author: Kiera Roberto has been pursuing film for a couple of years with a few music videos and short films under her belt.  The most important part of the film platform is that she is able to fight issues she firmly believes in.  In addition to this film, Ms. Roberto is on the board of a non profit SAFEBAE that creates educational videos for students in grade schools. This is Kiera’s first contribution to Tony Ward Studio.

 

 
 
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Perfect Holiday Gifts: Fashion Fetish 25 Years. Available in Store!

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Fashion Fetish 25 Years

 

 

FASHION FETISH 25 YEARS now available in Storehttp://tonywarderotica.com/store/

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With introduction by A.H. Scott. Copyright 2018

 

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Vote: November 6, 2016

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Vote! November 6, 2018

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Fashion Fetish 25 Years: Now Available!

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FASHION FETISH 25 YEARS: ORDER NOW!

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Now taking orders for this special limited edition print run of 500 copies on superior quality, Proline Pearl Photo 140# paper stock.  Standard portrait size, image wrap cover 8 x 10 in, 21 x 26 cm. 240 pages. Each copy sold is printed to order, signed and numbered until the edition is sold out. U.S. customers please allow 14 days for printing and delivery. International customers please allow 30 days for printing and delivery. Click here to enter check out: http://tonyward.com/shopping-cart/books-bonus-gift/#gallery/537ab8257ae5dd811ebdcab8cff3523a/102/cart

I would like to thank all of the incredible models, editors, stylists, magazines and companies that made this book possible! 

In order of appearance:

Mikala Mikrut, Alice Chaillou, A.H. Scott, Titziana, Michelle Seidman, Anthony Goaslin, Pascale Descance, Bill Weiting, Ayesha, Dana Rochelle, Sandy Ward, Sharon Franklin, Monica Miraglilo, Marita, Paul Mojica, Deborah Shaw, Richard Elms, Ingrid Cesares, Lee Henshaw, Sandra Bauer, Angelique, Wendy Taw, Nami, Vibe Magazine, Scott & Richard, Bob & Becky Marker, Deann, Paulette Fallon, Bobbi Eden, Kianna Dior, Shay Sights, Rachel Louise, Kelly, Holly Singelyn, David, Savanna, Hallie, David & Devon, Diana Desiderio, Tyson Beckford, Thandie Newton, Quincy Jones, Keith Murray, Heidi & Michelle, Andrea Suwa, Blend Magazine, BLVD Magazine, Lilian DeJong, Steffi, Justine Bakker, Ivita Rence, Jana, Anna Borleffs, Allison Dunlap, Dagmar Rose, Ettore Salon, Elizabeth Southward, Jennifer Cole, Cosmopolitan Magazine, Vault Productions, Domina Barbie, Jilian Nonemacher, Leg Show Magazine, Isabella Reneaux, Esther Young, Sascha Lilic, Spoon Magazine, Neiman Marcus, Penthouse Magazine, Natascha, Emina Cunmulaj, Sonya Bright, Tony Ward (the model), GQ Magazine, Thomas Kramer, Park Avenue Magazine, Guinevere Van Seenus, Atomic Bombshell, Catherine Trifilleti Design, Alex Wagner, Louva, Alejandra Guerrero, Floore Jansen, Kimberly Kane, Jennie Shapiro, Maggie Stein, Delicious Corsets, Taboo Magazine, Rachel V, Ashlynn Brooke, Bonnie Rotten, Jessica Saint, Jennifer Lester, K Vaughn, Aradia Ardor, Kevin Stewart, Becky Marker, Katie Kerl.

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