Jahrbücher für Geschichte Osteuropas:  jgo.e-reviews 5 (2015), 3 Rezensionen online / Im Auftrag des Instituts für Ost- und Südosteuropaforschung in Regensburg herausgegeben von Martin Schulze Wessel und Dietmar Neutatz

Verfasst von: Kirsten Bönker

 

Monsters University ⭐

On the surface, it seemed like a cynical cash grab—a college comedy plastered over beloved characters. But to dismiss Monsters University as just Animal House with monsters is to miss the point entirely. Beneath the fraternity rivalries and scare games lies a surprisingly radical, deeply humanist message: The Heresy of the "Dream" Most children’s films operate on a simple, seductive formula: believe in yourself, work hard, and your dream will come true. Monsters University commits a kind of narrative heresy by rejecting this outright.

This is not a victory over the system. It is a negotiation with it. The film argues that failure is not a detour on the road to success; it is the engine of it. Mike had to lose his impossible dream to find his real purpose. Sulley had to be stripped of his family’s name to discover his own work ethic. In an era of curated highlight reels and hustle culture, Monsters University feels almost revolutionary. It tells children—and the adults in the room—that you can try your hardest and still come up short. It validates the experience of the kid who studies for the test and gets a C, the athlete who trains for the race and comes in last. Monsters University

The much-maligned Oozma Kappa (OK) fraternity, a collection of misfits (a “belly-sliding” nerd, a middle-aged returning student, a two-headed goofball), is the vehicle for this idea. They are not the cool kids. They don’t win because of a montage-fueled improvement. They win because Mike learns to leverage their unique, weird qualities into a functional team. The lesson shifts from “become the best individual” to “find where you fit.” The film’s final minutes are its masterstroke. After winning the Scare Games, Mike and Sulley are still expelled for breaking into the human world. They don’t get reinstated. There is no last-minute pardon from Dean Hardscrabble. Instead, they start at the absolute bottom of Monsters, Inc.—the mailroom. On the surface, it seemed like a cynical

Zitierweise: Kirsten Bönker über: Kristin Roth-Ey: Moscow Prime Time. How the Soviet Union Built the Media Empire that Lost the Cultural Cold War. Ithaca, NY, London: Cornell University Press, 2011. IX, 315 S., Abb. ISBN: 978-0-8014-4874-4, http://www.dokumente.ios-regensburg.de/JGO/erev/Boenker_Roth-Ey_Moscow_Prime_Time.html (Datum des Seitenbesuchs)

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