Research Paper

Werewolves find their roots in the Greek Myth of King Lycaon of Arcadia.  Back then, he represented the dangers that come with angering the gods, the natural order of things, and his "werewolf" form represented the beast that Lycaon was on the inside. Three aspects of this myth change over time throughout its iterations: the curse of "lycanthropy", the form that the wolf takes on, and the symbolic representation of the beast within. These three aspects can be analyzed to reflect the social landscape of the times.

Between the 15th and 19th century, both Europe and the concept of lycanthropy / werewolves heavily expanded. During the spread of Christianity in Europe, from relations to the beliefs and concepts of monsters themselves began. Such as the aforementioned witch trials, but also the development of the werewolf. A case like in 1589, the case of Peter Stumpp is one of the earliest recordings founded of supposed werewolfery, who was accused of gauging the flesh of other human beings, admitted to making a deal with The Devil, the practice of black magic, and had a magical item that allowed to turn him into a wolf (Friedrich).  Whilst there are confounds of whether what Peter Stumpp admitted was real or not, really helped hammer in further ideas of the werewolf that would become mainstay qualities going forward.

To Damascus, was a Swedish play with a “Werewolf” that debuted in 1898, whilst not being an actual depiction of a werewolf. A key character; The Doctor, is oftentimes referenced as a werewolf, to really emphasize the Doctor’s nature of being deceptive, manipulative, lashing out, and being violent (Ward). Whilst on the surface a seemingly normal man, then on the inside a very dark desire, personified as a Werewolf itself. This continues on the tradition of werewolves reflecting a darker aspect within all humans. We later see werewolves being a more confined reflection of the socio-political world at their respective Eras.

The cinematic and theatrical portrays of werewolves delved into themes surrounding self-reflection and personal struggles during different periods of time in the United States. The Werewolf (1924) adapted by Gladys Unger was released during the Roaring Twenties, a period of post-war, and surrounds the main theme of a character dealing with their monstrous struggles and inner struggles as they try to control their transformation into a werewolf. The protagonist attempts to hide their supernatural form from the people he loves and to avoid detection by people who may want to expose him. The presence of a werewolf can go against societal norms and display themes of fear, acceptance, and struggle for identity.

The emergence of World War II has shaped the werewolf mythos by presenting the monster as a tragic victim of circumstance who is shunned by the world around them. Around this In the Wolf Man (1941) our protagonist-turned werewolf, Larry Talbot, constantly questions his memory as those around him, including his family, brush aside his concerns and any evidence that werewolves are real. Larry was essentially marked for death the moment he was bitten. This film depicts the werewolf's curse as a result of occultism and sets many other pre-existing werewolf tropes into cinema, including a werewolf's connection to the full moon, the ability for the curse to be transmitted to others, and having silver be its weakness. 

“The Mad Monster,” directed by Sam Newfield and produced by Sigmund Neufeld for PRC (Producers Releasing Corporation), is a 1942 horror film that describes the controversial and unethical experiments performed by a mad scientist named Dr. Lorenzo Cameron on his gardener Petro. His ambitious yet vengeful studies lead to a serum that ultimately turns Petro into a murderous werewolf. Dr. Lorenzo was consumed by his desire to prove his fellow scientists wrong as they all ridiculed and ostracized his work. Set against the backdrop of a stereotypical evil mansion, the narrative unfolds as Dr. Cameron manipulates Petro into committing a series of brutal murders, targeting those who have wronged him. Anne Nagel plays the role of Dr. Cameron's innocent and unsuspecting daughter, Lenora, who becomes involved in her father's experiments. The film is characterized by its atmospheric tension, gothic themes, and the transformation scenes that were ahead of its time. Most importantly, “The Mad Monster” touches on the themes of scientific exploration, ethical/unethical experimentation, and the fine line between the two. It reflects the public's fascination and fear of scientific advancements, a theme that is still very much common today. Even though it was a small production, the film has garnered a niche but dedicated following over the years, as it is celebrated for its classic horror elements, and script writing. It remains a notable example of the early 1940s horror genre, reflecting the era's fears and cinematic trends.

The protagonist in An American Werewolf in London (1981), David, is also a victim of circumstance who was cursed to become a werewolf, but there is an added subtext that tells us the story is about more. Though the film premiered in 1981, the screenplay was written in 1969, when the effects of Nazi Germany were still lingering. Within this film are many Jewish-coded references that transform our narrative from "tragic victim shunned by the world" to "Jewish man who feels isolated from the world around him after suffering immense trauma." Instead of The Wolf Man's occultism, Werewolf in London is focused on its namesake, how someone who is different fits into modern society.

 The film Wolfen (1981) by Michael Wadleigh takes place during 1980s America, a time of social and political changes, and involves a series of murders in New York City investigated by detective Wilson, leading him to discover a pack of ancient wolves. Wadleigh signifies the werewolf as something that is lurking under society and can reflect the internal struggles people face. The Curse of the Werewolf (1994) by Ken Hill offers a new perspective on werewolves and relates them to themes of inner darkness and love which can resonate with the audience’s own personal experiences or struggles. During this time period of 90s America, theater production is enhanced with technological advancements and this helps to immerse the audience visually while exploring human complexities and identity amongst society. All together, these productions presented of the supernatural world of werewolves offer a sense of reflection and provide an image in which the audience can tackle their own internal struggles and mental health.  

Mafia, a russian social experiment by Dimitry Davidoff ran in 1986, sought to combine his study of Psychology, and wanted to entertain a high school class, and decided to play a game. This game was aimed to create two opposing teams with roles hidden to each other, and to study actions around deception and manipulation (Robertson). Then in 1997, interactive game designer Andrew Plotkin decided to rebrand the game as Werewolf due the dying cultural relevance of mafias. Werewolves were able to fit the rebrand due to being a monster whose depiction grew to one that was human by day, but monster by night (Plotkin). Further emphasizing the werewolves’ theme of deception, and manipulation such as in other classic stories such as many variations of Little Red Riding Hood. But as we approach the beginning of the twenty-first century came about and the development of how entertainment was produced changed a lot. Along with the evolution of entertainment, came the evolution of werewolves, such as the ones in Van Helsing (2004), written by Stephen Sommers. Again really pushing the modern depictions with the “normal by day, beast by night” (JoBlo), hammering in the monstrous nature of lashing out, dangerous, and violent. While werewolves can reflect the general shift of ideals and fears of the time, their iconography as "a person struggling with something else within themselves" manifests in other areas, such a person coming face-to-face to with their identity.

 Within more feminine or queer outcast roles, werewolves still bring hardship and struggle, but also may have an opportunity to give a sense of power in turn. 1968's Libahunt shows us Tiina, who is deemed a werewolf and exiled from her community. However, she eventually returns to speak to her lover in a plea to leave with her. By doing this she puts him in a great deal of pressure and draws attention to herself, not just from him but the entire community. She leaves alone in the end but commands great fear and attention in the process. 

Ginger Snaps (2000), though satirical and more of an aesthetic device, shows how Ginger becomes bold and reckless due to her slow transformation, she embraces her newfound sexuality and desires with the boys around her, and kills not only neighborhood dogs but a girl she dislikes as well. No matter what she stays defiant, even until she ends up dead by the end of the film. In Wolfwalkers (2020), Robyn is already trying to break gender roles put upon her throughout nearly the entire film. Thankfully through becoming a wolfwalker and meeting her best friend Mebh, she's able to learn how to live freely and as her true self. By the end of the film, she can defend her new friends and family from those who had oppressed her before. Not only creating a newfound freedom for herself but for those who remain in the town she was forever a black sheep in. The werewolves in these works begin to evolve into a new group of hierophants which attempt to reflect how people can and have been able to take power and control over their own lives- and each of these productions showing just a little of how much someone can find their power and freedom in the face of a society or group that doesn't respect or accept them. The werewolf begins its transformation from being a curse and tragedy upon its victim, to a source of strength and unabashed freedom for its wielder.

The werewolf is portrayed as a symbol of freedom and power for women. The protagonist is a woman who is not afraid of the wolves in the forest, ultimately embracing her own transformation into a werewolf as a way to gain agency and control over her life. This can be seen as a subversion of traditional gender roles where women are often depicted as victims or prey. In The Company of Wolves, the werewolf represents a form of femininity, boldness, and power. This protagonist is seduced by a mysterious stranger who turns out to be a werewolf. The transformation from man to beast can be seen as a metaphor for giving in to carnal desires, and finds herself irresistibly drawn to this dangerous and forbidden creature. The seduction by the mysterious stranger who is revealed to be a werewolf adds complexity to the narrative, as it explores themes of desire and danger. By giving in to her carnal desires and being drawn to this forbidden creature, it defies societal expectations and embraces her own sexuality. The evolution of werewolves from untamed beasts to representations of freedom and power for women can be attributed to changing attitudes towards gender roles and sexuality. For example, by reclaiming the figure of the werewolf as a symbol of strength and empowerment, writers like Angela Carter have helped to challenge traditional narratives and offer new possibilities for female characters in literature.

Lykos Anthropos (2022) is a play where the werewolf's curse is symbolic of inner trauma. Here, the werewolf's curse is an allegory for our inner trauma which we suppress from others. This reflects our media's greater focus on discussing mental health and trauma in the open, specifically on how we can heal those scars within ourselves. As such, the werewolf more focused on depicting the werewolf as a person rather than a creature.

The werewolf has been an icon in Western storytelling for centuries, and it is no surprise that it changes and morphs to reflect an aspect of humanity that is invisible to us. From reflecting the fears of science and the emergence of psychology to becoming reflections feminine and queer identity, we can see that the werewolf can be any of us. Perhaps the reason why the mythos of the werewolf has not disappeared is because we all have something within us that defines who we are, but we keep it locked within ourselves. But like any other secret, part of us wants to let it out, show the world our true selves. When the world is quiet and the moon shines bright is when a wolf can thrive.