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Relevant bibliographies by topics / Frankenstein, Mary Shelley, film adaptations

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Academic literature on the topic 'Frankenstein, Mary Shelley, film adaptations'

Author: Grafiati

Published: 24 April 2022

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Journal articles on the topic "Frankenstein, Mary Shelley, film adaptations"

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Braid, Barbara. "The Frankenstein Meme: Penny Dreadful and The Frankenstein Chronicles as Adaptations." Open Cultural Studies 1, no. 1 (November 27, 2017): 232–43. http://dx.doi.org/10.1515/culture-2017-0021.

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Abstract Mary Shelley’s Frankenstein (1818) is one of the most adaptable and adapted novels of all time, spurring countless renditions in film, television, comic books, cartoons, and other products of popular culture. Like a meme, this story adapts itself to changing cultural contexts by replication with mutation. This article examines the adaptive and appropriative features of two recent examples of such renditions in the form of television series, Penny Dreadful (2014-2016) and The Frankenstein Chronicles (2015). It discusses palimpsestic appropriations used in these shows, their depiction of Frankenstein and his Creatures, and above all, the themes and their meanings which these twenty-first-century appropriations of Frankenstein offer.

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Eberle-Sinatra, Michael. "Readings of Homosexuality in Mary Shelley's Frankenstein and Four Film Adaptations." Gothic Studies 7, no. 2 (November 2005): 185–202. http://dx.doi.org/10.7227/gs.7.2.7.

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Canepari, Michela. "“It Could Be Worse … It Could Be Raining”: The Language of Meteorology in Shelley’s Frankenstein and Its Intersemiotic Translations." International Journal of English Linguistics 9, no. 6 (October 13, 2019): 1. http://dx.doi.org/10.5539/ijel.v9n6p1.

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The language relating to climatic conditions certainly plays a major role in the novel Frankenstein, published by Mary Shelley in 1818. The aim of this article is therefore to analyze the use the author makes of this language, which often acquires symbolic overtones that work in synergy with the development of the plot and the characters’ psychology, and study the way this same language is adapted and exploited in some of the films that translate the novel intersemiotically. To this end, this paper will focus on the cinematographic adaptations of Shelley’s work dating from 1931, 1994 and 2015, although sporadic references to other products will be made too. During the analysis, some of the notions of intersemiotic translation will be applied to the selected corpus, in order to demonstrate how the practice of various forms of translation, including inter- and intra-semiotic translation, heavily contributes to the creation of the canon we live by.

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Boszorád, Martin. "Populárna kultúra v znamení Prometea (vstupné poznámky a vyhliadky)." Literatura i Kultura Popularna 26 (September 14, 2021): 31–39. http://dx.doi.org/10.19195/0867-7441.26.3.

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Methodologically connecting the experience and interpretation-based aesthetic approach to popular culture (Juraj Malíček) and pragmatist aesthetics (Richard Shusterman) on one hand and the views of what is called arch-textual thematology (Mariana Čechová) on the other, the paper seeks to observe the ties between an arch-text, in this particular case the Promethean myth, and “pop.-texts”, i.e. such pop cultural works of art (films, TV series, literary texts, comics etc.), within the framework of which the Promethean myth appears in one way or another and which can be labelled with the agnomen “pop”. The consideration is core-like based on the exceedingly saturated and complex work of the German comparatist Gűnter Peters entitled Prometheus: Modelle eines Mythos in der europäischen Literatur (2016) in which the author thematises models of the Promethean myth in the context of European verbal art. Various models or appearances of a reanimation of the Promethean myth in various (pop cultural) works of art become in the paper referentially an object of interest — from Kafkaʼs parable about Prometheus through “Promethean” episodes of TV series like The X-Files (1997), Bones (2013), a Supernatural (2013) and films like Prometheus (2012) to the Promethean and iconic novel by Mary Shelley Frankenstein (1818) and its adaptations. The basic leitmotif of the paper is in a sense the problem of the iconisation of suffering as a principal thematic segment of the Promethean myth.

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Marotta, Melanie A. "The science fiction horror: Alien, George R. R. Martin's Nightflyers and the surveillance of women." Northern Lights: Film & Media Studies Yearbook 17, no. 1 (November 1, 2019): 57–70. http://dx.doi.org/10.1386/nl_00005_1.

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Abstract The subgenre of the science fiction horror has a lengthy history, one that is purported to begin with Mary Shelley's novel, Frankenstein (1818). In Shelley's novel, the body is a space in which a man enacts his ambitions. Significantly, the female voice that was so prominent in the novel disappears in later adaptations including Danny Boyle's National Theatre production examined here. In the science fiction horror film of the later twentieth century, the monstrosity appears famously in what is now a franchise. Ridley Scott directs Alien (1979), a renowned haunted ship mystery (territory of the horrific). When she is not defending herself from attacks, Ripley must contend with her objectification by Ash, the corporation's representative and by the rest of the crew. A new addition to the science fiction horror subgenre is Syfy channel's adaptation of George R. R. Martin's Nightflyers. Unbeknownst to the crew of the Nightflyer, the former captain of the ship, Cynthia, has had her consciousness transferred to the ship and she is watching everyone. Like Ripley, the Nightflyer's female characters ‐ Agatha, Melantha and Cynthia ‐ are subjected to others' fear of the unknown, namely the changing roles for women and how that will impact their societal construction. Here, I will examine the body on display. This essay is primarily interested in the female characters and whether or not they are empowered or violated by the act of looking or violated.

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Babilas, Dorota. "Family Resemblance: Frankenstein’s Monster and the Phantom of the Opera in ”Penny Dreadful” (2014-2016)." Lublin Studies in Modern Languages and Literature 43, no. 2 (July 3, 2019): 135. http://dx.doi.org/10.17951/lsmll.2019.43.2.135-143.

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<p>The Creature of <em>Frankenstein</em> never managed to fulfil his desire of finding a loving partner in Mary Shelley’s novel, but his symbolic progeny continues to haunt the modern popular culture. The article discusses the case of “family resemblance” between Frankenstein’s Creature and the title antihero of Gaston Leroux’s <em>The Phantom of the Opera</em>. In their respective literary sources, they share an inborn deformity, an appreciation for music, a romantic yearning for love and acceptance matched with sociopathic violence. Recently, the TV series <em>Penny Dreadful</em> elaborates on these allusions, conflating the narratives by Shelley and Leroux, as well as their later adaptations.</p>

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Villeneuve, Johanne. "Visages-légendes : de Boris Karloff à Frankenstein." Envisager, no. 8 (August 10, 2011): 173–86. http://dx.doi.org/10.7202/1005546ar.

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Cet article a comme point de départ le passage du visage « littéraire » du monstre dans Frankenstein de Mary Shelley (1818) au célèbre visage cinématographique qu’a légué à la postérité le film de James Whale sous les traits de Boris Karloff. Le principe de l’inadéquation qui fonde le premier visage est maintenu dans le second, bien que considérablement transforme en fonction des possibilités qu’offre le medium cinématographique et du contexte socioculturel dans lequel celui-ci produit ses effets. Il s’agit de voir comment le Hollywood des années 1930 reprend le vieux filon de la fantasmagorie robertsonienne afin de produire un « flot » particulier de visages monadiques. Sur le mythe de Frankenstein se greffe la légende de Boris Karloff : trajectoire démultipliée d’un visage « sans essence » et vide de son expérience, un visage-cadre légende, portant les marques d’une survivance et d’une errance en partage au détour de la « grande crise ».

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Reis, André Silva dos, and Maria Dulcimar de Brito Silva. "Frankenstein de Mary Shelley, o Filme: Um recurso para introdução da História da Ciência no Ensino de Ciências na visão de graduandos." História da Ciência e Ensino: construindo interfaces. ISSN 2178-2911 15 (May 5, 2017): 96. http://dx.doi.org/10.23925/2178-2911.2017v15p96-104.

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ResumoEste estudo visa analisar o filme Frankenstein de Mary Shelley a partir da visão de graduandos, para que o mesmo venha a ser empregado como recurso midiático para uma abordagem introdutória da História da Ciência no ensino. Para tanto, oito monitores de Química do Centro de Ciências e Planetário, graduandos de licenciatura em Química, assistiram ao filme, em seguida, realizaram uma sinopse e, posteriormente, e responderam a um questionário. As respostas apontaram que o filme consegue transpor a ideia do que era ser um cientista e como a Ciência se desenvolvia. Pontuam também vários temas que podem ser levantados pelos professores relacionados ao papel da ciência na sociedade. Isso mostra como mídias visuais são recursos dinâmicos para uma abordagem introdutória, visto que, além de narrar os fatos, fica gravado na mente dos alunos a impressão visual de como a ciência foi desenvolvida ao longo dos séculos. Palavras-chave: História da Ciência; Ensino de Ciências; Recurso didático.AbstractThis study aims to analyze the film Frankenstein from undergraduate vision, so that it will be used as a media resource for an introductory approach to the History of Science in teaching. Therefore, eight trainees of Chemical Sciences and Planetary Center, undergraduate students in chemistry, watched the film, and then held a synopsis and then answered a questionnaire. The answers showed that the film manages to transpose the idea of what was to be a scientist and a science developed. Also punctuate several issues that can be raised by teachers related to the role of science in society. This shows how visual media are dynamic resources for an introductory approach view that in addition to narrating the facts is engraved in the minds of students the visual impression of how science has developed over the centuries.Keywords: History of Science; Science Teaching; Teaching resource.

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Milerius, Nerijus. "UTOPIJOS IR ANTIUTOPIJOS VIZIJOS KINE. FILOSOFINĖS BANALAUS ŽANRO PRIELAIDOS." Problemos 79 (January 1, 2011): 81–89. http://dx.doi.org/10.15388/problemos.2011.0.1325.

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Straipsnyje tęsiami apokalipsės kino tyrinėjimai, pirmą kartą pristatyti praėjusiame „Problemų“ tome (78). Siekiant detalizuoti apokalipsės kino analizę, pasitelkiami nauji – utopijos ir antiutopijos – kinematografiniai aspektai. Apžvelgiamos utopinio diskurso mitologinės ir religinės prielaidos, parodoma, kaip utopinis diskursas išreiškiamas Platono idealios visuomenės projekte. Thomas More’o „Utopija“ apibrėžiama kaip jungiamoji grandis tarp klasikinių filosofinių ir religinių utopinių vizijų ir vėlesnių mokslinių technologinių pasaulio perkonstravimo modelių. Technologinis pasaulio perkonstravimas kaip moderniųjų utopijų pagrindas neišvengiamai susijęs su nekontroliuojamo pasaulio antiutopinėmis vizijomis. Mary Shelley „Frankenšteinas“ apibūdinamas kaip dažnas utopinių modelių fonas. Kaip utopinių ir antiutopinių motyvų sampynos kine pavyzdys analizuojamas Steveno Spielbergo „Dirbtinis intelektas“. Įrodoma, jog postapokaliptinė šio kino kūrinio aplinka konstruojama tam, kad būtų išryškintas pačios kasdienybės utopiškumas.Pagrindiniai žodžiai: kino filosofija, apokalipsės kinas, mokslinė fantastika, utopija, antiutopija.Visions of Utopia and Dystopia in Cinema. The Philosophical Presuppositions of the Banal GenreNerijus Milerius SummaryThe article continues researching the apocalypse film genre. The first results of such research were presented for the first time in the last volume of “Problemos”. In this article, aspects of utopia and dystopia are introduced into the analysis. Firstly, the mythological and religious presuppositions of utopian discourse are overviewed. Secondly, it is shown how utopian discourse is manifested in Plato’s project of ideal society. “Utopia” of Thomas More is considered as the medium between classical visions of utopia and subsequent models of technological transformation of the world.The technological transformation of the world is such basis of modern utopias, which is inevitably tied with the dystopian visions of uncontrollable reality. M. Shelley’s “Frankenstein” appears to be frequent background of utopian models. As the example of interconnection of utopian and dystopian motifs, S. Spielberg’s “The Artificial Intelligence” is presented. It is argued that the post-apocalyptic milieu of this film is constructed with the purpose of revealing the utopian character of the everyday itself.Keywords: film philosophy, apocalypse movie, science fiction, utopia, dystopia.

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Krueger, Misty. "The products of intertextuality: The value of student adaptations in a literature course." Transformative Works and Cultures 20 (December 10, 2014). http://dx.doi.org/10.3983/twc.2015.0632.

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The essay explores a pedagogy of adaptation that focuses on examining intertextuality and engaging students in textual production through the creation of an adaptation. The paper discusses the success of assigning an adaptation project in an upper-level, third-year literature course taught at a small university. It examines student adaptations of writings by William Shakespeare, Jane Austen, Samuel Richardson, Henry Fielding, Mary Shelley, and Ben H. Winters and of existing film adaptations of Sense and Sensibility and Frankenstein. I link student projects to critical concepts such as re-vision and multimodality, and disciplines such as literary studies and the digital humanities. I also analyze how the projects reflect students' interests in popular culture and fandom.

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Dissertations / Theses on the topic "Frankenstein, Mary Shelley, film adaptations"

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Phillips, Nathan C. "Beyond Fidelity: Teaching Film Adaptations in Secondary Schools." Diss., CLICK HERE for online access, 2007. http://contentdm.lib.byu.edu/ETD/image/etd1910.pdf.

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Linter, Simon. "Mary Shelley’s Unrealised Vision : The Cinematic Evolution of Frankenstein’s Monster." Thesis, Stockholms universitet, Engelska institutionen, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-104476.

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Mary Shelley’s novel Frankenstein has been the direct source for many adaptations on stage, television and film, and an indirect source for innumerable hybrid versions. One of the central premises of Julie Sanders’s Adaptation and Appropriation (2006) is that adaptations go through a movement of proximation that brings them closer to the audience’s cultural and social spheres. This essay looks at how this movement of proximation has impacted the monster’s form and behaviour and concludes that this is the main reason Shelley’s vision of her monster has rarely been accurately reproduced on screen. It is clearly impossible for an essay of this length to adequately cover the vast number of adaptations spawned by Frankenstein. It is clear that James Whale’s Frankenstein (1931), where the monster has a bolt through its neck and a stitched forehead, created the stereotype that has been the source for many other Frankenstein film adaptations. However, contemporary film adaptations cater to target audiences and specific genres, while also reflecting the current political climate and technological innovations. The conclusion reached here is that while the form and behaviour of Frankenstein’s monster in film has inevitably been revised over the years, precisely as a result of social and cultural factors, it is the stereotype created by Whale that has prevailed over the figure produced by Shelley. This, in turn, supports and confirms Sanders’s theory of movement of proximation.

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Books on the topic "Frankenstein, Mary Shelley, film adaptations"

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Hideous progenies: Dramatizations of Frankenstein from Mary Shelley to the present. Philadelphia: University of Pennsylvania Press, 1990.

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2

Ursini, James. More things than are dreamt of: Masterpieces of supernatural horror, from Mary Shelley to Stephen King, in literature and film. New York: Limelight Editions, 1994.

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1947-, Silver Alain, ed. More things than are dreamt of: Masterpieces of supernatural horror, from Mary Shelley to Stephen King, in literature and film. New York: Limelight Editions, 1994.

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Adapting Frankenstein. Manchester University Press, 2017.

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Perry, Dennis. Adapting Frankenstein. Manchester University Press, 2017.

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Perry, Dennis. The Recombinant Mystery of Frankenstein. Edited by Thomas Leitch. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199331000.013.8.

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Mary Shelley’s Frankenstein, itself adapted from several sources, has triggered a never-ending series of film adaptations, each exploring the meaning of human life through the evolving landscapes of cultural and technological development. Adapted in James Whale’s Frankenstein as a figure of both horror and deep pathos, the monster and his creator have played a pivotal role in the development of the cinema of gothic horror, borrowing along the way from a wide array of genres as different as surrealism, slapstick comedy, and the Western. This basic story of human fears and desires has become the archetype of intertextual adaptation methods, providing a resonant metaphor for even such homely details as the process of film editing.

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Harmes, Marcus K. The Curse of Frankenstein. Liverpool University Press, 2015. http://dx.doi.org/10.3828/liverpool/9781906733858.001.0001.

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Critics abhorred it, audiences loved it, and Hammer executives were thrilled with the box office returns: The Curse of Frankenstein was big business. The 1957 film is the first to bring together in a horror movie the 'unholy two', Christopher Lee and Peter Cushing, together with the Hammer company, and director Terence Fisher, combinations now legendary among horror fans. This book goes back to where the Hammer horror production started, looking at the film from a variety of perspectives: as a loose literary adaptation of Mary Shelley's novel; as a film that had, for legal reasons, to avoid adapting from James Whale's 1931 film for Universal Pictures; and as one which found immediate sources of inspiration in the Gainsborough bodice rippers of the 1940s and the poverty row horrors of the 1950s. Later Hammer horrors may have consolidated the reputation of the company and the stars, but these works had their starting point in the creative and commercial choices made by the team behind The Curse of Frankenstein. In the film sparks fly, new life is created and horrors unleashed, but the film itself was a jolt to 1950s cinemagoing that has never been entirely surpassed.

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McCutcheon, Mark A. Medium Is the Monster: Canadian Adaptations of Frankenstein and the Discourse of Technology. Athabasca University Press, 2018.

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McCutcheon, Mark. The Medium Is the Monster: Canadian Adaptations of Frankenstein and the Discourse of Technology. UBC Press, 2019.

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Book chapters on the topic "Frankenstein, Mary Shelley, film adaptations"

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Harmes, Marcus K. "Conclusion." In The Curse of Frankenstein, 93–94. Liverpool University Press, 2015. http://dx.doi.org/10.3828/liverpool/9781906733858.003.0007.

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This chapter iterates the arguments set forth in the previous chapters. It talks about the film as an adaptation of multiple sources. Though there were a few fundamental components from Mary Shelley's novel included in the film, the script that they followed through production created cinematic solutions for a book that was essentially incapable of 'faithful' adaptation. Much of the film was inspired by comedy horrors from the 1940s and 1950s. It explains that adaptations brings familiarity onto the screen in terms of what audiences may have already read or seen, which creates different pathways for understanding. The chapter describes The Curse of Frankenstein as the beginning of a tradition that would last for a very long time.

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Hand, Richard J. "Populism and ideology: nineteenth-century fiction and the cinema." In Interventions. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9781784995102.003.0010.

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Richard J Hand in ‘Populism and Ideology: Nineteenth-Century Fiction and the Cinema’ explores the adaptation of nineteenth-century fiction into film. The focus of the chapter is on the cinematic adaptation of four extremely different yet continuingly popular texts at opposite ends of the nineteenth century: Jane Austen’s Pride and Prejudice (1813), Mary Shelley’s Frankenstein (1816), Henry James’s Turn of the Screw (1898) and Joseph Conrad’s Heart of Darkness (1899). After outlining the legacy of the selected examples of fiction on film, Hand explores the critical issues and the ideological ramifications that surface through these adaptive processes. The dramatization of each text brings out diverse issues relating to popularization and ideology. This is particularly pertinent with the processes of both inter-cultural adoption and inter-generic transposition, such as the relocating of Austen within a contemporary Indian context, the redeployment of Conrad’s narrative within the Vietnam War and the appropriation of Shelley and James into the populist contexts of the horror genre.

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Schor, Esther. "Frankenstein and film." In The Cambridge Companion to Mary Shelley, 63–83. Cambridge University Press, 2003. http://dx.doi.org/10.1017/ccol0521809843.005.

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Harmes, Marcus K. "The Book: Adapting Shelley." In The Curse of Frankenstein, 47–62. Liverpool University Press, 2015. http://dx.doi.org/10.3828/liverpool/9781906733858.003.0004.

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This chapter discusses some of the deviations of the film from Mary Shelley's novel. It discusses how it was necessary for Hammer to condense plot, characters, and dialogue in order to create cinematically suitable and satisfying alternatives to the original novel, creating succinctness and cinematic impact in place of wordiness. The chapter discusses the transgressions that were made on the story's setting. In the film, Frankenstein barely sets foot outside his own front door as opposed to the journey he took to several places in the book. The chapter also discusses the transgressions made on several characters such as Victor Frankenstein, the Creature, Justine, and Elizabeth among others. There were notable changes to the portrayal of Victor Frankenstein, and the Creature, both appearing more demented than described in the novel. Justine and Elizabeth meet different fates in the film. Victor's relationships with the two women were distinctly colder to what was noted in the novel. Some characters and whole storylines were completely omitted. The chapter also discusses changes that were made to the dialogue and how speech was made to be briefer as compared to their dialogue in the novel.

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