DOCSLIB.ORG

TFM, Para Que Salgan De Su Asombro Inicial O Queden Instalados En Éste

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
TFM, Para Que Salgan De Su Asombro Inicial O Queden Instalados En Éste GENEALOGÍAS DIGRESIVAS DEL MONSTRUO. Alumne: Rafa Hernández Blasco Tutor/a: Tània Costa/Joan Minguet Màster Universitari de Recerca en Art i Disseny Curs 2015/2016 " ÍNDICE Prefacio…………………………………………………………………………………………….………………3 1. Introducción………………………………………………………………………………………….…………4 1.1. Justifcación y delimitación del objeto de estudio…………………………..…………….……………….7 1.2. Objetivos de la investigación……………………………………………..…………………….……………9 1.3. Hipótesis de trabajo………………………………………………………..………………………………..10 1.4. Marco teórico……………………………………………………………….……………………………….12 1.5. Estado de la cuestión…………………………………………………………..……………………………13 1.5.1. Ivestigaciones sobre el Terror/Horror………………………………………………………………..….13 1.5.2. Investigaciones sobre el monstruo/la monstruosidad…………………………………………………16 2. In ‘Goth’ we trust: una aproximación al Gótico………………………………………………….……..…….17 3. Nuevos monstruos, tiempos modernos…………………………………………..…………………………23 4. 4. Las tres caras del monstruo (y una más)………………………………………..…………………………28 4.1. De Villa Diodati a Los Ángeles…………………………………………………..…………..……..……..…28 4.1.1. La chispa de la vida: génesis del monstruo…………………………………………….………………..28 4.1.2 Ladrones de cadáveres………………………………………………………………..………………..…31 4.1.3. El moderno… ¿“Prometeo”?………………………………………………………..…….………………33 4.1.4. Frankie goes to Hollywood……………………………………………………………………..………..41 4.1.5 Frank ’N’ World…………………………………………………………………………..…………………48 4.2. El mito de los Cárpatos victorianos………………………………………………….……………..………60 4.2.1. Beber sangre antes de Drácula…………………………………………………….……..………………60 4.2.2. Un vampiro a penique……………………………………………………………….…….……………..62 4.2.3. El demonio barbero……………………………………………………………………..………………..64 4.2.4. Femme et vampire………………………………………………………………..………………………66 4.2.5. Largos caninos, estacas aflada…………………………………………………………………..………71 4.2.6. Mordiscos y succión Ad eternum………………………………………………………………..………..85 4.3. El monstruo escindido…………………………………………………………………………..…..……102 4.3.1.Doble o nada: Dr. Jekyll y Mr. Hyde……………………………………………………….………..…..102 4.3.2. Nowhere to run, nowhere to Hyde………………………………………………..……………………115 4.4. Con la bestia dentro………………………………………………………………………………..……..122 4.4.1. Furor animal………………………………………………………………………………………..……122 4.4.2. De lobos, hombres y fotogramas……………………………………………………..…….…………..127 4.4.3. El animal en guerra……………………………………………………………………..……………….130 5. Monstruo entre monstruos………………………………………………………..………………………..134 5.1. Crimen y cultura…………………………………………………………………..……………………….134 5.2. Afectísimo…………………………………………………………………….…….……………………..139 5.3. Vampiros lujuriosos entre las sombras de Weimar……………………………..……..…………………145 6. American nightmare……………………………………………………………………………………..….156 6.1. De las Monster movies a los Slashers: transmutación del Monstruo U.S.A…………………..………156 6.2. Tipically American…Gothic………………………………………………………………………..……..162 6.3. Killing in America……………………………………………………………………………..……………167 6.4. Slice and Dice: The Final Chapter………………………………………………………….……..………..173 7. Conclusiones…………………………………………………………………………………………………175 8. Bibliografía…………………………………………………………………………………..……………178 9. Webgrafía…………………………………………………………………………………………………….185 !2 Prefacio Podría afrmarse que el presente proyecto parte más de una temeridad en forma de intención noble, un acto más próximo a la insensatez y la tentativa que a la aplicación racional y ordenada de ideas y la sintaxis inteligible. Semejante presentación me obliga a explicar debidamente a qué se debe esta declaración algo atípica para introducir un trabajo académico, en este caso el TFM, para que salgan de su asombro inicial o queden instalados en éste. Considérense pues las líneas que siguen una humilde prescripción o disculpa si se quiere —por las licencias tomadas— para afrontar lo que en adelante acontezca. Es este preciso instante en el que el cursor parpadea cadencioso y, obviamente, ajeno y despreocupado en su función a las tribulaciones, inquietudes y miedos que atenazan al que esto escribe, el escogido como propicio para dar comienzo a la redacción del TFM, requisito para valorar la aptitud del alumno y obtener una titulación específca. A priori puede parecer de perogrullo, que lo es, sí. Pero, si se me permite, debo añadir un dato que he omitido por aquello de mantener el suspense: han transcurrido 7 días ya desde que entráramos en junio y estos son los primeros y sufridos renglones que logro plasmar en un documento digital. Y no es que no haya escrito nada hasta el momento; bien al contrario, me encuentro ante un horror mayúsculo y de difícil (di)gestión al contabilizar no menos de 300 páginas manuscritas arrebatadamente, la mayor parte de las cuales corresponden a citas extraídas de una cantidad de libros cuya cifra exacta prefero no hacer constar por aquello de no hurgar más en la herida, de no alimentar más la intrusa y lustrosa ansiedad a la que sirvo de alojamiento desde hace semanas, meses. Se diría que me hallo en un punto de no retorno y que las expectativas se están volviendo por momentos evanescentes, traslúcidas. Yo, en cambio, simplemente optaré por pensar que “alimento” al monstruo. Muy probablemente, quien esto lea se pregunte pertinentemente qué motivo/motivos condujeron a servidor a un desbordamiento tan extremo, tan atroz; a lo que me gustaría responder, si se me permite, con estoicidad y tono solemne, que se debe a un proceso de investigación artística concienzudamente preparado y puesto en práctica con el rigor, el orden y la precisión exigidos por cualquier trabajo riguroso que se precie. Por el contrario y, espero que la honestidad de la que hago acopio sea considerada un atenuante, el despropósito informe que ha devorado con la misma fruición palabras, tinta, grafto, horas y días, parece exigir su materialización —cual criatura de Frankenstein despiezada— sin discusión que valga; imponiendo su ominosa voluntad mediante mi persona. De nada serviría que tratase de excusarme enumerando los intentos de dar salida a la exigencia académica con la elaboración de pavorosas fgurillas o vaciando metódicamente cada mañana las medias naranjas una vez exprimidas y consumido su jugo. Aunque puede que —sólo puede que— llegados a este punto cobren sentido; las primeras como agoreras a pequeña escala del fracaso venidero; las segundas como terrorífca alegoría del juicio que opta por marchar para no volver… Si de algo se puede califcar la situación —además de ridículamente risible— es de acuciante y abocada más a lo peor que a la obtención de unos resultados satisfactorios, al menos a priori. Incapacidad, indecisión, procrastinación, temor, obstinación,…podría seguir así hasta completar al menos mil quinientas palabras más, mas !3 no sería sino otro paso insignifcante de veras para aspirar a cubrir las entre veinticinco mil y cuarenta mil palabras que me separan de, como mínimo, cumplir el requisito de extensión. sin embargo, con la dignidad —si la hubiere— que todavía pueda atesorar, me dispongo al abordaje y la tarea que supone suturar todas las partes del monstruo esperando que cada órgano y cada miembro ocupe el lugar que le corresponde. Y tal vez transcurridas unas semanas de inferno autoimpuesto y prometeicos esfuerzos pueda gritar presa de la euforia desmedida: “¡Está vivo!” No quisiera concluir sin antes completar esta introducción tan lastimera como poco protocolaria, introduciendo el ámbito que ha ocupado la investigación —por desmembrada que se encuentre—. Me gustaría tomarme una licencia más y remitirme a una célebre secuencia cinematográfca en la que una bestia escénica como pocas, ya en su madurez profesional y vital, monologaba pausadamente, con gravedad sudorosa entre penumbras oscilantes aludiendo al horror, el Horror. Ese es precisamente el tema que me propongo diseccionar de aquí en adelante sin atender en demasía a la ortodoxia y la convención, confando en que el coronel Kurtz no erraba cuando afrmaba sin titubeos ser el juicio el que nos derrota. 1. Introducción Es frecuente oír hablar de horror, miedo, terror y otras tantas emociones o estados de ánimo que se asocian a las categorías anteriormente referidas sin preguntarnos sobre las particularidades de cada una de estos sentimientos, aquello que lo distingue del resto, su singularidad. El grueso de estas entradas responden principalmente a la fcción, excepciones hechas en forma de titular de noticias por lo general perteneciente a la crónica de sucesos. Realizado el rastreo inicial, se puede entrar en algunos de los portales destinados a la fcción de horror en sus vertientes literaria y cinematográfca comprobándose la gran cantidad de seguidores que participan de forma activa, abanderando su ‘militancia’ y tomando parte de una comunidad virtual que tiene su versión física en festivales especializados y temáticos donde los fans pueden codearse con cineastas y estrellas sintiendo formar parte de “algo grande”. Incluso pueden hallarse certámenes académicos y congresos donde se debaten cuestiones entorno a lo fantástico. ¿Y a qué nos referimos exactamente cuando hablamos de “lo fantástico”? Sin entrar en el proceloso terreno de la validación de concepto esquivos, nos sirve como punto de partida la defnición que ofrece David Roas (2011) cuando explica que «lo fantástico se caracteriza por proponer un conficto entre (nuestra idea de) lo real y lo imposible»; precisando de la inexplicabilidad (no la vacilación, ni la incertidumbre) «para que dicho conficto genere un efecto fantástico.» (30) Puede certifcarse que el terror/horror goza de envidiable forma. Incluso me aventuraría a afrmar que su estado de salud es excepcional si tenemos en cuenta el éxito
Load more

Recommended publications
  • The Coming of Sound Film and the Origins of the Horror Genre
    UNCANNY BODIES UNCANNY BODIES THE COMING OF SOUND FILM AND THE ORIGINS OF THE HORROR GENRE Robert Spadoni UNIVERSITY OF CALIFORNIA PRESS BERKELEY LOS ANGELES LONDON University of California Press, one of the most distinguished university presses in the United States, enriches lives around the world by advancing scholarship in the humanities, social sciences, and natural sciences. Its activities are supported by the UC Press Foundation and by philanthropic contributions from individuals and institutions. For more informa- tion, visit www.ucpress.edu. A previous version of chapter 1 appeared as “The Uncanny Body of Early Sound Film” in The Velvet Light Trap 51 (Spring 2003): 4–16. Copyright © 2003 by the University of Texas Press. All rights reserved. The cartoon on page 122 is © The New Yorker Collection 1999 Danny Shanahan from cartoonbank.com. All rights reserved. University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England © 2007 by The Regents of the University of California Library of Congress Cataloging-in-Publication Data Spadoni, Robert. Uncanny bodies : the coming of sound film and the origins of the horror genre / Robert Spadoni. p. cm. Includes bibliographical references and index. isbn 978-0-520-25121-2 (cloth : alk. paper) isbn 978-0-520-25122-9 (pbk. : alk. paper) 1. Horror films—United States—History and criticism. 2. Sound motion pictures—United States— History and criticism. I. Title. pn1995.9.h6s66 2007 791.43'6164—dc22 2006029088 Manufactured in the United States
    [Show full text]
  • Frankenstein Immortel
    16 FRISSON FRANKENSTEIN IMMORTEL DEUX SIÈCLES APRÈS SA NAISSANCE, LE COUPLE INFERNAL IMAGINÉ PAR MARY SHELLEY À COLOGNY CONTINUE DE FASCINER ET D’INTERROGER LES LIMITES DU SAVOIR. RETOUR SUR LA GENÈSE, LA PORTÉE ET LA POSTÉRITÉ D’UNE ŒUVRE PHARE CAMPUS N°124 DOSSIER FRANKENSTEIN 17 l y a tout juste 200 ans, le 16 juin 1816, Mary Shelley, une jeune Anglaise âgée de 18 ans se lance dans la rédaction de ce qu’elle envisage comme « un petit conte I à glacer le sang ». Publié en 1818 avant de sortir dans sa version définitive en 1831, son Frankenstein ou le Prométhée moderne a depuis fait le tour du monde. Première œuvre de science-fiction, cet ouvrage né sur les pentes de Cologny a beau avoir été adapté des centaines de fois, inspirant des artistes de tous horizons, il n’a rien perdu de sa pertinence. Au contraire: les problématiques abordées dans cet ouvrage semblent plus que jamais d’actualité. C’est vrai sur le plan de la médecine, de l’éthique et des limites du savoir scien- tifique mais aussi du climat qui a joué un rôle déterminant dans la genèse de cette histoire. Pour faire le point sur les intuitions étonnamment clairvoyantes de la romancière britannique en cette année anniversaire, l’Université propose un programme copieux où se mêlent colloques scientifiques, conférences, débats, projection de films et expositions. Ouverture des feux le 13 mai avec le vernissage, à la Fondation Bodmer, d’une exposition-événement autour de Frankenstein. Un projet piloté par David Spurr, professeur honoraire de la Faculté des lettres (Département de langue et littérature anglaises).
    [Show full text]
  • English 2333: an Abbreviated Frankenstein Filmography Dr
    English 2333: An Abbreviated Frankenstein Filmography Dr. Monica Smith [Before this class meeting, students watch the Edison Frankenstein for homework and answer three questions, and we begin class by reviewing these questions: 1) What version of the Creature does this film present: the Creature as monster, the creature as human, or something in between? 2) What aspects of Shelley’s story (characterization, plot detail, setting, imagery) have the filmmakers kept? What has been deleted? To what effect? 3) What role does music play in this film?] Frankenstein (usually called The 1910 Edison Frankenstein) Director J. Searle Dawley. Starring Charles Ogle. Edison, 1910. Silent film. Approximately 13 minutes. This is the earliest known film version of Frankenstein. Regrettably, the only surviving copy was held by a private collector who refused to let film students and scholars study or even view it. Now the film fortunately has passed into the public domain and is available via Google video. Frankenstein Director James Whale. Starring Boris Karloff, Colin Clive, and Mae Clarke. Produced by Carl Laemmle, Jr. Adaptation by Robert Florey and John L. Balderston. Screenplay by Garrett Fort, Robert Florey, and Francis Edward Faragoh. Based on the play by Peggy Webling. Universal, 1931. 71 minutes. This version makes substantive changes to both plot and character, renaming our protagonist, for one example, “Dr. Henry Frankenstein,” and calling his friend “Victor.” This film gives us many of the stock elements of the twentieth-century Frankenstein myth: the mad scientist in a castle on a mountaintop who cries “It’s alive! It’s alive!” when his reanimation is successful, the scientist’s hunchbacked assistant, and the robot-like, inarticulate creature with bolts in his neck.
    [Show full text]
  • For More Than Seventy Years the Horror Film Has
    WE BELONG DEAD FEARBOOK Covers by David Brooks Inside Back Cover ‘Bride of McNaughtonstein’ starring Eric McNaughton & Oxana Timanovskaya! by Woody Welch Published by Buzzy-Krotik Productions All artwork and articles are copyright their authors. Articles and artwork always welcome on horror fi lms from the silents to the 1970’s. Editor Eric McNaughton Design and Layout Steve Kirkham - Tree Frog Communication 01245 445377 Typeset by Oxana Timanovskaya Printed by Sussex Print Services, Seaford We Belong Dead 28 Rugby Road, Brighton. BN1 6EB. East Sussex. UK [email protected] https://www.facebook.com/#!/groups/106038226186628/ We are such stuff as dreams are made of. Contributors to the Fearbook: Darrell Buxton * Darren Allison * Daniel Auty * Gary Sherratt Neil Ogley * Garry McKenzie * Tim Greaves * Dan Gale * David Whitehead Andy Giblin * David Brooks * Gary Holmes * Neil Barrow Artwork by Dave Brooks * Woody Welch * Richard Williams Photos/Illustrations Courtesy of Steve Kirkham This issue is dedicated to all the wonderful artists and writers, past and present, that make We Belong Dead the fantastic magazine it now is. As I started to trawl through those back issues to chose the articles I soon realised that even with 120 pages there wasn’t going to be enough room to include everything. I have Welcome... tried to select an ecleectic mix of articles, some in depth, some short capsules; some serious, some silly. am delighted to welcome all you fans of the classic age of horror It was a hard decision as to what to include and inevitably some wonderful to this first ever We Belong Dead Fearbook! Since its return pieces had to be left out - Neil I from the dead in March 2013, after an absence of some Ogley’s look at the career 16 years, WBD has proved very popular with fans.
    [Show full text]
  • Luz, Câmera… “Frankenstein”: Como Os Estudantes Do Ensino Médio Percebem a Ciência Nos Filmes
    UNIVERSIDADE ESTADUAL DO OESTE DO PARANÁ - UNIOESTE CENTRO DE EDUCAÇÃO, COMUNICAÇÃO E ARTES/CECA PROGRAMA DE PÓS-GRADUAÇÃO EM EDUCAÇÃO NÍVEL DE MESTRADO/PPGE ÁREA DE CONCENTRAÇÃO: SOCIEDADE, ESTADO E EDUCAÇÃO LUZ, CÂMERA… “FRANKENSTEIN”: COMO OS ESTUDANTES DO ENSINO MÉDIO PERCEBEM A CIÊNCIA NOS FILMES KATHYA ROGERIA DA SILVA CASCAVEL – PR 2018 UNIVERSIDADE ESTADUAL DO OESTE DO PARANÁ - UNIOESTE CENTRO DE EDUCAÇÃO, COMUNICAÇÃO E ARTES/CECA PROGRAMA DE PÓS-GRADUAÇÃO EM EDUCAÇÃO NÍVEL DE MESTRADO/PPGE ÁREA DE CONCENTRAÇÃO: SOCIEDADE, ESTADO E EDUCAÇÃO LUZ, CÂMERA… “FRANKENSTEIN”: COMO OS ESTUDANTES DO ENSINO MÉDIO PERCEBEM A CIÊNCIA NOS FILMES KATHYA ROGERIA DA SILVA CASCAVEL – PR 2018 UNIVERSIDADE ESTADUAL DO OESTE DO PARANÁ - UNIOESTE CENTRO DE EDUCAÇÃO, COMUNICAÇÃO E ARTES/CECA PROGRAMA DE PÓS-GRADUAÇÃO EM EDUCAÇÃO NÍVEL DE MESTRADO/PPGE ÁREA DE CONCENTRAÇÃO: SOCIEDADE, ESTADO E EDUCAÇÃO LUZ, CÂMERA… “FRANKENSTEIN”: COMO OS ESTUDANTES DO ENSINO MÉDIO PERCEBEM A CIÊNCIA NOS FILMES KATHYA ROGERIA DA SILVA Dissertação apresentada ao Programa de Pós-Graduação em Educação – PPGE, área de concentração Sociedade, Estado e Educação, linha de pesquisa: Ensino de Ciências e Matemática da Universidade Estadual do Oeste do Paraná/Unioeste –Campus de Cascavel, com requisito parcial para obtenção do título de Mestra em Educação. Orientadora: Professora Doutora Marcia Borin da Cunha CASCAVEL – PR 2018 DEDICATÓRIA Aos meus pais, Jane e Olandir, por todo amor que dedicaram a mim. Ao Felipe Giuliano e aos meus afilhados queridos, Álvaro e Alexandre, que enchem a minha vida de amor e sorrisos sinceros. AGRADECIMENTOS Desde antes da escrita das primeiras palavras até as últimas deste trabalho, várias pessoas contribuíram e me ajudaram a finalizar.
    [Show full text]
  • The Invention of Mary Shelley: Fictional Representations of Mary Shelley in the Twentieth Century
    The Invention of Mary Shelley: Fictional Representations of Mary Shelley in the Twentieth Century Selina Packard Goldsmiths College Submitted for the degree of PhD in the University of London Abstract This thesis is an examination of fictional representations of the life of Mary Shelley. As such it forms a contribution to two main areas of study: the postmodern debate about the relationship between fictional and factual discourses, and also to the perception of Mary Shelley in criticism. Chapter 1 constitutes a historical survey of the biographies of Mary Shelley, from her death to the present, which are the factual sources for most of the fictional texts examined in the thesis. Chapter 2 goes on to examine the prose fictions in which Mary Shelley appears as a fictional character in the years from the 1930s to the 1960s. In these we find her determined by her role as wife to Percy Bysshe Shelley, and she is thus presented as the standard heroine of romance fiction. In Chapter 3, study of later prose fictions from the 1960s to the present reveals a figure determined more by her role as author of Frankenstein. In Chapter 4, I look at her representation on stage, and show how her persona is determined by developments in late twentieth-century theatre, and she thus becomes beleaguered wife to the radical Percy. In Chapter 5, which looks at her presentation on screen, it is her visual appearance that is the dominant force in her construction, and she appears as Pandora, beautiful but deadly releaser of evils. Finally, in Chapter 6, which looks at the more unusual media in which she has appeared as a fictional character, her construction as mother to Frankenstein, birther of literary monsters, is foregrounded.
    [Show full text]
  • The Call Is Places 2018–2019 SUBSCRIBER NEWSLETTER
    The Call Is Places 2018–2019 SUBSCRIBER NEWSLETTER Frankenstein – Playing with Fire Sept 15 – Oct 27 Wurtele Thrust Stage WELCOME From Artistic Director Joseph Haj SEASON 2018–2019 Frankenstein – Playing with Fire Sept 15 – Oct 27, 2018 Dear Friends, Wurtele Thrust Stage The idea for Frankenstein came to 18-year-old Mary Shelley in a dream. Noises Off After reading a volume of ghost stories with Percy Shelley and Lord Byron Oct 27 – Dec 16, 2018 and attempting to pen ghastly tales of their own, Mary awoke one night McGuire Proscenium Stage from a chilling vision of a scientist bringing a “hideous phantasm of a man” to life. That striking image was the impetus for her novel, which was A Christmas Carol published in 1818 and kept alive through stage and film adaptations for Nov 13 – Dec 29, 2018 the past 200 years. Wurtele Thrust Stage But her ghost-story-turned-cultural-phenomenon isn’t the only notable The Great Leap anniversary. We’re also heralding the 30th anniversary of Barbara Field’s Jan 12 – Feb 10, 2019 McGuire Proscenium Stage haunting Frankenstein – Playing with Fire script. This brilliant adaptation was commissioned by the Guthrie under the artistic direction of the late As You Like It Garland Wright and opened in July 1988 following a five-month national Feb 9 – March 17, 2019 tour. Barbara’s work and artistry are woven into the fabric of the Guthrie’s Wurtele Thrust Stage history, and I’m thrilled to once again examine the questions Mary Shelley raised two centuries ago. Cyrano de Bergerac The riveting and deeply personal catechism between Frankenstein and March 16 – May 5, 2019 his Creature draws us in from the first question — “Do you dream?” — and McGuire Proscenium Stage never lets us go.
    [Show full text]
  • Frankenstein and the Inoculated Reader Frankenstein; Or the Modern Prometheus
    FRANKENSTEIN AND THE INOCULATED READER FRANKENSTEIN; OR THE MODERN PROMETHEUS AND THE INOCULATED READER By JANE L. DROVER, B.A., M.A. A Thesis Submitted to the School of Graduate Studies in Partial Fulfilment of the Requirements for the Degree Doctor of Philosophy McMaster University (c) Copyright by Jane L. Drover, June 1990 DOCTOR OF PHILOSOPHY (1990) MCMASTER UNIVERSITY (English) Hamilton, Ontario TITLE: Frankenstein; Or The Modern Prometheus and The Inoculated Reader AUTHOR: Jane Drover, B.A. (McMaster University) M.A. (McMaster University) SUPERVISOR: Dr. Joan Coldwell NUMBER OF PAGES: vii, 337 ii Abstract My thesis examines the relationship between Mary Shelley's novel Frankenstein; or, The Modern Prometheus and the Frankenstein myth as it has come to be known because of film. I propose that present-day readers, in addition to having a repository of literary knowledge, also have a reservoir of f ilmic memories on which to draw when they read. These visual 'texts' can function, I argue, not only as inter-texts but also as signs, indicating to us how to read certain written texts. Building on reader-response criticism, I include these visual signs in my analysis of the reading experience of Frankenstein. After outlining a brief history of visualizations of the novel on stage and in film and commenting on the contributions these adaptations gave to the story, I focus on the James Whale classics of 1931 and 1935. It is to. these films that we owe the figures of the Karloffian monster, the hunchbacked assistant, the 'mad' scientist, and the monster's grotesque 'bride.' Having imitated the common order of our exposure to the myth -- that is we know or know of Frankenstein films before we arrive at the novel I define and explain the iii theoretical concepts of narrative and filmic afterimages.
    [Show full text]
  • Specimen Morandini Mymovies.Indd
    Frutto della collaborazione e dell’esperienza di due nomi Contiene DVD-Rom e Contiene DVD-Rom e versione scaricabile ilMorandini signi cativi nel campo della critica cinematogra ca: Morandini versione scaricabile e MYmovies, questo dizionario intende dare una panoramica dei per Windows e Mac per Windows e Mac installabile su disco rigido MYmovies.it lm di fantascienza, compresi i generi fantastico e fantasy, e di installabile su animazione. In quest’ottica, sono stati inclusi lm mai usciti in Italia disco rigido Dizionario dei fi lm ma comunque reperibili fuori dai con ni nazionali. Animazione e fantascienza sono accomunati dalla concezione di FANTASCIENZA fantastica e spesso avveniristica della realtà e sono generi e di ANIMAZIONE considerati talvolta a torto di serie B, i famosi B-movie; quest’opera può essere l’occasione per avvicinarsi, scoprire e apprezzare aspetti del cinema no a oggi sottovalutati; anche solo come lettura di storie per lo più fantastiche dato il dettaglio delle recensioni e la perizia con la quale sono state redatte. Interessante e in qualche modo didattico è veri care i progressi ilMorandini fatti dalla tecnica ma anche le stupefacenti invenzioni messe in atto per rappresentare un futuro immagini co o le sorprendenti animazioni del cinema degli esordi. ilMorandini MYmovies.it MYmovies.it Un’opera divertente come guida a un divertimento consapevole! Dizionario dei fi lm di FANTASCIENZA • 744 pagine Dizionario dei fi lm • 4400 lm e di ANIMAZIONE • indice dei registi di FANTASCIENZA Zingarelli 2012: contiente il testo integrale dello Zingarelli 2012 2012 pubblicato da Zanichelli, ricercabile per lemmi e per forme. e di ANIMAZIONE Zingarelli 2012: contiente il testo integrale dello Zingarelli 2012 Versioni digitali 2012 pubblicato da Zanichelli,Il programma ricercabile per lemmi è e perdisponibile forme.
    [Show full text]
  • El Mito De Frankenstein En El Cine: Transmediación Y Ciencia Ficción (Blade Runner Y 2049)
    El mito de Frankenstein en el cine: transmediación y ciencia ficción (Blade Runner y 2049) The Frankenstein Myth in Film: Transmediation and Science Fiction (Blade Runner and 2049) PEDRO JAVIER PARDO Universidad de Salamanca [email protected] ORCID ID: 0000-0001-8347-5738 Resumen: Este trabajo explora la Abstract: This essay explores the presencia de Frankenstein en el cine a presence of Frankenstein in film partir de un marco teórico basado en through a theoretical frame based on los conceptos de transtextualidad y the notions of transtextuality and transescritura. En su primera parte transwriting. The first part is a survey hace un recorrido por las of the series of transmediations which transmediaciones que han convertido have turned the novel into a myth and la novela en un mito, con un doble entails a double aim: in the first place, objetivo: en primer lugar, ilustrar el to illustrate the efficiency of the rendimiento del marco teórico y, en theoretical frame and, in the second segundo lugar, alcanzar una definición place, to reach a definition of the del mito frankensteiniano, que se Frankensteinian myth, which is cifra en la dialéctica creador-criatura anchored in the dialectics between articulada por tres motivos narrativos creator and creature, articulated by y desarrollada en tres mitemas. En la three narrative motifs and expressed segunda parte el artículo se interroga in three mythemes. The second part sobre la presencia de este paradigma probes the presence of this paradigm en el cine de ciencia ficción y, in science fiction and, firstly, it primero, separa género de mito (lo distinguishes between myth and genre que permite establecer grados de (which leaves room for different presencialidad), para luego ocuparse degrees in this presence), so then it del grado máximo (donde el mito se focuses on the highest degree (where hace sentir con su dialéctica the dialectics of myth can be característica), que se ilustra con el detected), which is illustrated by a análisis detallado de Blade Runner y detailed analysis of Blade Runner and 2049.
    [Show full text]
  • The Original Frankenstein Free Ebook
    FREETHE ORIGINAL FRANKENSTEIN EBOOK Mary Wollstonecraft Shelley,Percy Bysshe Shelley,Charles E. Robinson | 448 pages | 01 Oct 2008 | The Bodleian Library | 9781851243969 | English | Oxford, United Kingdom Frankenstein Frankenstein: Day of the Beast is an independent horror film based loosely on the original book. Victor Frankenstein appears in the ABC show Once Upon a Time, a fantasy series on ABC that features multiple characters from fairy tales and classic literature trapped in the real world. Frankenstein () cast and crew credits, including actors, actresses, directors, writers and more. Frankenstein is a American pre-Code science fiction horror film directed by James Whale, produced by Carl Laemmle Jr., and adapted from a play by Peggy Webling, which in turn was based on Mary Shelley's novel Frankenstein; or, The Modern Prometheus. Full Cast & Crew An original work of imagination itself, The Original Frankenstein, by illuminating the genesis of this novel, is now an invaluable part of its intriguing editorial history.” —Susan J. Wolfson, Professor of English, Princeton University and President, Association of Literary Scholars and Critics. Frankenstein, the title character in Mary Wollstonecraft Shelley’s novel Frankenstein, the prototypical ‘mad scientist’ who creates a monster by which he is eventually killed. The name Frankenstein has become attached to the creature itself, who has become one of the best-known monsters in the history of film. Original Frankenstein, by illuminating the genesis of this novel, is now an invaluable part of its intriguing editorial history.” — Susan J. Wolfson, Professor of English, Princeton University and President, Association of Literary Scholars and Critics. The Original Frankenstein Frankenstein () cast and crew credits, including actors, actresses, directors, writers and more.
    [Show full text]
  • Frankenstein
    Sonderausgabe 2 Liebe Leserinnen, liebe Leser, mit der zweiten Sonderausgabe von FILM und BUCH graben wir ein wenig in der Literaturgeschichte. Genauer gesagt geht es um das wohl berühmteste Werk der Literatur: Frankenstein. Der bekannte Autor und Übersetzer Alexander Pechmann geht der Spur Frankensteins nach, die eng mit der Biographie Mary Shelleys verbunden ist, und zeigt zugleich auf, wo die Ursprünge des zur Ikone der Popkultur gewordenen Monsters liegen. Ein weiterer Beitrag von Alexander Pechmann listet damalige Rezensionen zu Frankenstein auf, die zeigen, mit welcher Wucht der Roman damals in den Buchmarkt einschlug. Am Ende der Ausgabe findet sich noch eine Auflistung der Filme, die mit dem Roman in Verbindung stehen, sowie wichtige biographische Daten über Mary Shelley. Viel Spaß beim Lesen! Alexander Pechmann FRANKENSTEIN Die Hintergründe zum wohl bekanntesten Monster der Schauerliteratur s e r u t c i P l a s r e v i n FILM und BUCH Sonderausgabe 2 U : t © FILM und BUCH 2017 h g i r y p o C Mary Shelleys Frankenstein Zum 200. Geburtstag eines Meisterwerks nen und Parodien wiederbelebt. Frankenstein wurde „Mary Godwin (jetzt Mrs. Shelley) schrieb Frankenstein – zum Inbegriff des verrückten Wissenschaftlers, der den Sie, im Glauben er sei Shelleys Werk, rezensiert haben – gegen die göttliche Ordnung verstößt und dafür kon- Mir scheint, es ist eine wunderbare Arbeit für ein neunzehn- sequent bestraft oder zum Besseren bekehrt wird. jähriges Mädchen – nicht einmal neunzehn – zu jener Zeit.“ Wie wenig dies mit der Radikalität der ursprünglichen Lord Byron sandte diese Zeilen im Mai 1819 an sei- Romanvorlage zu tun hat, offenbart sich erst durch nen Verleger John Murray, der es abgelehnt hatte, einen Vergleich mit der Urfassung von 1818.
    [Show full text]