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February 7–9, 14–16, 2020 Loft Stage at East Ridge High School MERRILL ARTS CENTER
MERRILL ARTS CENTER present a WCT production of Directed By Tom Reed February 7–9, 14–16, 2020 Loft Stage at East Ridge High School MERRILL ARTS CENTER a WCT production of WCT Production Staff Director Tom Reed so let chuck eckberg Music Director Jessie Rolfe help you find your Production Manager Leah Madsen Stage Manager MJ Luna Sound Designer Evangeline Lee dream castle! Props Designer Sarah Herman Scenic Designer Craig Steineck Costume Designer Bailey Remmers Lighting Designer Jacob Berg Even if the house isn’t in Transylvania, Choreographer Megan Torbert Chuck will electrify your journey and make sure you find MAC Administrative Staff “the happiest town” for you! Executive Director Barbe Marshall Hansen Managing Director Kajsa Jones SOS Director Kristin Fox Administrator Hannah Amidon See what a 14-time Super Real Estate AgentTM Accountant Irina Yaritz can do for you! Graphic Designer Galen Higgins Group Sales Director Alicia Wiesneth 604 Bielenberg Drive, Woodbury, MN 55125 651-246-6639 • [email protected] Publicists JAMU Enterprises www.chuckeckberg.com Director of Development Lori Nelson Digital Strategist Cromie Creative Consultants Box Office Managers Erika James, Jeriann Jones Lisa Winston MERRILL ARTS CENTER WANTED The Mission of Merrill Arts Center EMPLOYEE ENDORSEMENTS! is to champion the arts. PROGRAMS Do you work for one of these companies? Wells Fargo • Andersen Corporation • Otto Bremer Trust • Bremer Bank WCT McKnight Foundation • 3M • General Mills • Best Buy • Ecolab If yes, please let us know! AFFILIATES These companies, and many like them, have grant programs available to arts organizations like Merrill but we need an employee endorsement to apply. -
Mary Shelley: Teaching and Learning Through Frankenstein Theresa M
Forum on Public Policy Mary Shelley: Teaching and Learning through Frankenstein Theresa M. Girard, Adjunct Professor, Central Michigan University Abstract In the writing of Frankenstein, Mary Shelley was able to change the course of women’s learning, forever. Her life started from an elite standpoint as the child of Mary Wollstonecraft and William Godwin. As such, she was destined to grow to be a major influence in the world. Mary Shelley’s formative years were spent with her father and his many learned friends. Her adult years were spent with her husband, Percy Bysshe Shelley, and their literary friends. It was on the occasion of the Shelleys’ visit to Lord Byron at his summer home that Mary Shelley was to begin her novel which changed the course of women’s ideas about safety and the home. No longer were women to view staying in the home as a means to staying safe and secure. While women always knew that men could be unreliable, Mary Shelley openly acknowledged that fact and provided a forum from which it could be discussed. Furthermore, women learned that they were vulnerable and that, in order to insure their own safety, they could not entirely depend upon men to rescue them; in fact, in some cases, women needed to save themselves from the men in their lives, often with no one to turn to except themselves and other women. There are many instances where this is shown throughout Frankenstein, such as: Justine’s prosecution and execution and Elizabeth’s murder. Mary Shelley educated women in the most fundamental of ways and continues to do so through every reading of Frankenstein. -
Of Gods and Monsters: Signification in Franz Waxman's Film Score Bride of Frankenstein
This is a repository copy of Of Gods and Monsters: Signification in Franz Waxman’s film score Bride of Frankenstein. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/118268/ Version: Accepted Version Article: McClelland, C (Cover date: 2014) Of Gods and Monsters: Signification in Franz Waxman’s film score Bride of Frankenstein. Journal of Film Music, 7 (1). pp. 5-19. ISSN 1087-7142 https://doi.org/10.1558/jfm.27224 © Copyright the International Film Music Society, published by Equinox Publishing Ltd 2017, This is an author produced version of a paper published in the Journal of Film Music. Uploaded in accordance with the publisher's self-archiving policy. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Paper for the Journal of Film Music Of Gods and Monsters: Signification in Franz Waxman’s film score Bride of Frankenstein Universal’s horror classic Bride of Frankenstein (1935) directed by James Whale is iconic not just because of its enduring images and acting, but also because of the high quality of its score by Franz Waxman. -
The Real "Monster" in Frankenstein
ISSN 2380-5064 | Arsenal is published by the Augusta University Libraries | http://guides.augusta.edu/arsenal Volume 1, Issue 1 (2016) The Real "Monster" in Frankenstein David O. Urizar Citation Urizar, D. O. (2016). The Real "Monster" in Frankenstein. Arsenal: The undergraduate research journal of Augusta University, 1(1), 20-27. http://doi.org/10.21633/issn.2380.5064/f.2016.01.20 © 2016 Urizar. This open access article is distributed under a Creative Commons Attribution-NonCommercial-NoDerivs 2.0 Generic License (https://creativecommons.org/licenses/by-nc-nd/2.0/) ISSN 2380-5064 10.21633/issn.2380.5064/f.2016.01.20 Real “Monster” in Frankenstein David O. Urizar Department of Biological Sciences College of Science and Mathematics Faculty Mentor: Todd Hoffman, Ph.D., Department of English and Foreign Languages The story of Frankenstein is typically seen as a battle between Victor Frankenstein and the “monster” of the story. However I argue that that the real “monster” of the story is in fact Victor Frankenstein who is suffering from paranoid schizophrenia and that the “monster” is really just a delusions that Victor uses to cope with the idea that he in fact is the killer of the story. This concept is evident in the fact that no one in the story has ever seen both Victor Frankenstein and the “monster” alive in the same place. The characteristics of the “monster’ also point towards the idea that the “monster” could not possibly exist. Even the way that Victor acts throughout the book point to the idea that he does not really care for the safety of his loved ones. -
Young Frankenstein"
"YOUNG FRANKENSTEIN" SCREENPLAY by GENE WILDER FIRST DRAFT FADE IN: EXT. FRANKENSTEIN CASTLE A BOLT OF LIGHTNING! A CRACK OF THUNDER! On a distant, rainy hill, the old Frankenstein castle, as we knew and loved it, is illuminated by ANOTHER BOLT OF LIGHTNING. MUSIC: AN EERIE TRANSYLVANIAN LULLABY begins to PLAY in the b.g. as we MOVE SLOWLY CLOSER to the castle. It is completely dark, except for one room -- a study in the corner of the castle -- which is only lit by candles. Now we are just outside a rain-splattered window of the study. We LOOK IN and SEE: INT. STUDY - NIGHT An open coffin rests on a table we can not see it's contents. As the CAMERA SLOWLY CIRCLES the coffin for a BETTER VIEW... A CLOCK BEGINS TO CHIME: "ONE," "TWO," "THREE," "FOUR..." We are ALMOST FACING the front of the coffin. "FIVE," "SIX," "SEVEN," "EIGHT..." The CAMERA STOPS. Now it MOVES UP AND ABOVE the satin-lined coffin. "NINE," "TEN," "ELEVEN," "T W E L V E!" CUT TO: THE EMBALMED HEAD OF BEAUFORT FRANKENSTEIN Half of still clings to the waxen balm; the other half has decayed to skull. Below his head is a skeleton, whose bony fingers cling to a metal box. A HAND reaches in to grasp the metal box. It lifts the box halfway out of the coffin -- the skeleton's fingers rising, involuntarily, with the box. Then, as of by force of will, the skeleton's fingers grab the box back and place it where it was. Now the "Hand" -- using its other hand -- grabs the box back from the skeleton's fingers. -
Literature and the Image of Man 1St Edition Pdf Free
LITERATURE AND THE IMAGE OF MAN 1ST EDITION PDF, EPUB, EBOOK Leo Lowenthal | 9781351508544 | | | | | Literature and the Image of Man 1st edition PDF Book Retrieved 6 June Add to Basket Used Hardcover. Archived from the original on 31 October Organ transplantation in fiction. Archived from the original on 20 March While living in an abandoned structure connected to a cottage, he grew fond of the poor family living there, and discreetly collected firewood for them. Retrieved 30 March Light wear. June Robinson ed. More information about this seller Contact this seller 5. Fiction set in Atlanta, contemporary themes: shady real estate deals, quail-hunting plantation, fresh wealth, wily politicians, unemployment. Retrieved 20 November Victor falls ill from the experience and is nursed back to health by Henry. Volume I, first edition. Philosophical fiction , decadent literature. That angel would be Lucifer meaning "light-bringer" in Milton's Paradise Lost , which the monster has read; this relates to the disobedience of Prometheus in the book's subtitle. He is adamant that the creature dies. The creature has often been mistakenly called "Frankenstein". Scott, Grant F. O'Flinn, Paul. Many other factors play a role, including condition, scarcity, provenance, cultural or historic significance, etc. Book is in stock, and you can be assured that this book will be packaged well and shipped promptly. Seller Inventory t This day is published, in 3 vols. London, Bette. If the initial print run - known as the 'first printing' or 'first impression'- sells out and the publisher decides to produce a subsequent printing with the same typeset, books from that second print run can be described as a first edition, second printing. -
Discussion Questions for Frankenstein Written by Hailey Toporcer, Hiram College Class of 2019 Edited by Prof
Discussion Questions for Frankenstein Written by Hailey Toporcer, Hiram College Class of 2019 Edited by Prof. Kirsten Parkinson As you read Mary Shelley’s Frankenstein, either on your own or with a group, we invite you to use these questions to add layers to your discussion or thinking about the novel. The first section includes questions for each chapter of the novel; you will find questions reflecting on the book as a whole at the end. We have not included specific pages numbers as various editions have different page numbers, but the quotations are based on the 1831 edition of the novel. Discussion Questions for Each Chapter Letters I through IV 1. Frankenstein begins and ends with letters written by Robert Walton. Why do you think that Mary Shelley chose to have him frame the novel? How would your opinions of Victor Frankenstein and his creation differ if their story was told directly by Victor Frankenstein himself? What if the story was told solely by the creation? 2. Walton yearns for a friend, much like Victor Frankenstein’s creature does. What does this tell you about human nature? Is it in our nature to want companionship, someone to confide in, and someone to care for? 3. In Letter IV, Walton writes, “Yesterday the stranger said to me, “You may easily perceive, Captain Walton, that I have suffered great and unparalleled misfortunes. I had determined at one time that the memory of these evils should die with me, but you have won me to alter my determination. You seek for knowledge and wisdom, as I once did; and I ardently hope that the gratification of your wishes may not be a serpent to sting you, as mine has been. -
Frankenstein: Or the Modern Prometheus Pdf, Epub, Ebook
FRANKENSTEIN: OR THE MODERN PROMETHEUS PDF, EPUB, EBOOK Mary Wollstonecraft Shelley | 240 pages | 29 Jun 2011 | Vintage Publishing | 9780099512042 | English | London, United Kingdom Frankenstein: Or the Modern Prometheus PDF Book Retrieved 30 July Florescu, Radu Milner, Andrew. Archived from the original on 8 November During the two years that had elapsed previous to their marriage my father had gradually relinquished all his public functions; and immediately after their union they sought the pleasant climate of Italy, and the change of scene and interest attendant on a tour through that land of wonders, as a restorative for her weakened frame. Other motives were mingled with these, as the work proceeded. The Quarterly Review. Important Quotations Explained. In Shelley's original work, Victor Frankenstein discovers a previously unknown but elemental principle of life, and that insight allows him to develop a method to imbue vitality into inanimate matter, though the exact nature of the process is left largely ambiguous. SUNY Press. Day supports Florescu's position that Mary Shelley knew of, and visited Frankenstein Castle before writing her debut novel. Retrieved 19 September Retrieved 13 April Archived from the original on 13 February To watch the show, RSVP at www. She was not her child, but the daughter of a Milanese nobleman. These visions faded when I perused, for the first time, those poets whose effusions entranced my soul, and lifted it to heaven. American Film Institute. Mary Shelley in Her Times. He is an Englishman, and in the midst of national and professional prejudices, unsoftened by cultivation, retains some of the noblest endowments of humanity. -
La Novia De Frankenstein La Rara Proeza De Mejorar La Obra Inicial Y Acercarse Mucho Al Nivel De Lo Que Se Puede Entender Como Una Obra Maestra
Una de las obras cumbre del género fantástico FICHA TÉCNICA: Título original: Bride of Frankenstein Nacionalidad: EEUU Año: 1935 Dirección: James Whale Guión: William Hurlbut, John Balderston (sugerido por la novela Frankenstein o el moderno Prometeo de Mary W. Shelley) Producción: Carl Laemmle Jr. Dirección de Fotografía: John Mescall Montaje: Ted Kent Dirección Artística: Charles D. Hall Música: Franz Waxman Maquillaje: Jack Pierce Efectos Especiales: John P. Fulton Reparto: Boris Karloff ( El Monstruo ), Colin Clive (Barón Henry Frankenstein ), Valerie Hobson ( Eli- zabeth ), Ernest Thesiger ( Dr. Septimus Pretorius ), Elsa Lanchester ( Mary W. Shelley / Compañera del Monstruo ), Gavin Gordon ( Lord Byron ), Douglas Walton ( Percy Bysshe Shelley ), Una O'Connor (Minnie ), E.E. Clive ( Burgomaestre ), Lucien Prival (Albert, el Mayordomo ), Dwight Frye ( Karl, el Jo- robado ) Duración: 75 min. (B/N) SINOPSIS: Durante su convalecencia, Henry Frankenstein recibe la visita de un hombre extravagante que dice ser el Dr. Pretorious , quien le pide que colabore con él en sus experimentos para la creación de la vida. Con objeto de animarle a ello, Pretorious le muestra una colección de homúnculos que reviven durante unos segundos un mundo mágico ante la mirada fascinada de Henry . No obstante, Frankenstein no se deja tentar y rehúsa el ofrecimiento. Pero Pretorious contará con una baza inesperada a su favor: El Monstruo . Juntos obligan a Henry a crear una mujer que sea la compañera del monstruo. HOJA INFORMAT IVA Nº 68 Abril 2005 COMENTARIOS: Cuatro años después de su éxito inicial con El Dr. Frankenstein y tras haber rodado, entre otras, la magnífica adaptación cinematográfica de la novela El Hombre Invisible de H.G. -
Frankenstein's Theatrical Doppelgänger
University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies The Vault: Electronic Theses and Dissertations 2013-08-27 From Prometheus to Presumption: Frankenstein's Theatrical Doppelgänger Reid, Brittany Lee Alexandra Reid, B. L. (2013). From Prometheus to Presumption: Frankenstein's Theatrical Doppelgänger (Unpublished master's thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/26236 http://hdl.handle.net/11023/894 master thesis University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission. Downloaded from PRISM: https://prism.ucalgary.ca UNIVERSITY OF CALGARY From Prometheus to Presumption: Frankenstein’s Theatrical Doppelgänger by Brittany Reid A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS DEPARTMENT OF ENGLISH CALGARY, ALBERTA AUGUST, 2013 © Brittany Reid 2013 ii Abstract This thesis examines the Doppelgänger relationship between Victor Frankenstein and the Creature, as it is characterized through both Frankenstein and its first theatrical adaptation. With a specific focus on Richard Brinsley Peake’s 1823 gothic melodrama, Presumption; or, The Fate of Frankenstein I unpack how the novel’s cross-medium adaptation leads to a changed conception of the relationship of its central characters. In Frankenstein, Victor is the focal figure and acts as the Creature’s dominant counterpart. However, the characters’ cross-medium adaptation from page to stage inverts this Doppelgänger relationship from Shelley’s initial conception in the novel. -
Frankenstein in Mary Shelley’S Novel “Frankenstein”
A DESCRIPTION OF THE MAIN CHARACTER OF FRANKENSTEIN IN MARY SHELLEY’S NOVEL “FRANKENSTEIN” A PAPER WRITTEN BY RAHMA KESUMA ANJANI REG. NO: 152202056 DIPLOMA III ENGLISH STUDY PROGRAM FACULTY OF CULTURE STUDY UNIVERSITY OF NORTH SUMATERA MEDAN 2018 UNIVERSITAS SUMATERA UTARA It has been Approved by Supervisor, Dra. Diah Rahayu Pratama. M.Pd NIP. 195612141986012001 Submitted to Faculty of Culture Study. University of North Sumatera in partial fulfillment of the requirements for Diploma III in English Study Program. Approved by Head of Diploma III English Study Program, Dra. Swesana Mardia Lubis. M.Hum NIP. 19571002 198601 2 003 Approved by the Diploma III of English Study Program Faculty of Culture Study, University of North Sumatera. UNIVERSITAS SUMATERA UTARA As a Paper for the Diploma III Examination Accepted by the Board of Examiners in partial of the requirements for the D-III Examination of the Diploma III English Study Program, Faculty of Culture Study, University of North Sumatera. The examination is held 10th January 2018 Faculty of Culture Study University of North Sumatera Board of Examination : 1. Dra. Swesana Mardia Lubis. M.Hum 2. Dra. Diah Rahayu Pratama. M.Pd 3. Riko Andika Rahmat Pohan. S.S. M.Hum UNIVERSITAS SUMATERA UTARA AUTHOR’S DECLARATION I am, RAHMA KESUMA ANJANI, declare that I am the sole author of this paper. Except where reference is made in the text of this paper, this paper contains no material published elsewhere or extracted in whole or in part from a paper by which I have qualified for or awarded another degree. No other person‟s work has been used without due acknowledgement in the main text of this paper. -
FRANKENWEENIE Screenplay by John August (This Version Is Conformed As Per the Animatic on 18Th Jan 2012 V2) WHIRS and HUMS
FRANKENWEENIE screenplay by John August (This version is conformed as per the animatic on 18th Jan 2012_v2) WHIRS and HUMS. The screen flickers. Splices pop through the gate. And then, today's feature film: MONSTERS FROM BEYOND! The title card is made from cut cardboard, and very blurry. MOM (O.S.) Victor, I don't know that it's... VICTOR (O.S.) Mom, you have to wear the glasses. MOM (O.S.) Oh! Yes of course. Thick frames slide past. Now we're looking at the title card in real 3D. It's very homemade, but charmingly done. The next card: STARRING SPARKY DAD In 3D honey. Reveal that we are... INT. LIVING ROOM - DAY Victor's MOM and DAD share the couch with SPARKY THE DOG, 30-odd pounds of canine goodness. They're watching the homemade movie through vintage 3D glasses. Behind them run two projectors, manned by the filmmaker himself, VICTOR. He's more mad scientist than film auteur -- he built this twin projector system himself. MOM So that’s where my candlestick went. DAD Oh, isn’t that your grandmother’s table cloth. MOM That looks great! January 2012 Final Shooting Script_2012_01_18_v2 2 BACK TO THE SCREEN The pterodactyl swoops across town. People run in fear and panic. The monster attacks! DAD Oh that is so...Woah! I just felt I was attacked. MOM Oh. That’s scary. Troops and tanks spring into action. DAD Send in the marines! ARMY FIGURE Over here men. This way. To no avail. MOM Oh! Watch out! DAD Whoah! ENTER SPARKYSAURUS MOM Sparky! DAD Sparky that’s you! Sparky barks as he sees himself in the movie.