Chapter 1 Chapter 2

Notes Chapter 1 1. Jeffrey Mirel, “The Traditional High School: Historical Debates over Its Nature and Function,” Education Next 6 (2006): 14–21. 2. US Census Bureau, “Education Summary––High School Gradu- ates, and College Enrollment and Degrees: 1900 to 2001,” His- torical Statistics Table HS-21, http://www.census.gov/statab/ hist/HS-21.pdf. 3. Andrew Monument, dir., Nightmares in Red, White, and Blue: The Evolution of American Horror Film (Lux Digital Pictures, 2009). 4. Monument, Nightmares in Red. Chapter 2 1. David J. Skal, Screams of Reason: Mad Science and Modern Cul- ture (New York: Norton, 1998), 18–19. For a discussion of this more complex image of the mad scientist within the context of postwar film science fiction comedies, see also Sevan Terzian and Andrew Grunzke, “Scrambled Eggheads: Ambivalent Represen- tations of Scientists in Six Hollywood Film Comedies from 1961 to 1965,” Public Understanding of Science 16 (October 2007): 407–419. 2. Esther Schor, “Frankenstein and Film,” in The Cambridge Com- panion to Mary Shelley (Cambridge: Cambridge University Press, 2003), 63; James A. W. Heffernan, “Looking at the Monster: Frankenstein and Film,” Critical Inquiry 24, no. 1 (Autumn 1997): 136. 3. Russell Jacoby, The Last Intellectuals: American Culture in the Age of Academe (New York: Basic Books, 1987). 4. Richard Hofstadter, Anti-Intellectualism and American Life (New York: Knopf, 1963); Craig Howley, Aimee Howley, and Edwine D. Pendarvis, Out of Our Minds: Anti-Intellectualism and Talent 178 Notes Development in American Schooling (New York: Teachers Col- lege Press: 1995); Merle Curti, “Intellectuals and Other People,” American Historical Review 60 (1955): 259–282. 5. Andrew Tudor, Monsters and Mad Scientists: A Cultural History of the Horror Movie (Oxford, England: Basil Blackwell, 1989), 20, 61, 67, 83–84, 185. 6. There are a few counterexamples to this claim, most notably Phantasmagoria, the German collection of horror tales. Generally speaking, however, the bulk of the notable Gothic horror novels are English in origin. 7. E. Michael Jones, Monsters from the Id: The Rise of Horror in Fic- tion and Film (Dallas, TX: Spence, 2000), 8. 8. Ibid., 32–59. 9. The fragment of the story begun by Byron still survives and is available in any number of collections, including Alan Ryan, ed., Vampires: Two Centuries of Great Vampire Stories (Garden City, NY: Doubleday, 1987). 10. Jones, Monsters from the Id, 77. 11. Ibid., 95. 12. Skal, Screams of Reason, 33; Schor, “Frankenstein and Film,” 63–83. 13. Rosemary Jackson, “Narcissism and Beyond: A Psychoanalytic Reading of Frankenstein and Fantasies of the Double,” in Aspects of Fantasy, ed. William Coyle (Westport, CT: Greenwood Press, 1986), 43. 14. Ibid., 51. 15. Schor, “Frankenstein and Film,” 63. 16. Frederick Wiebel, Edison’s Frankenstein (New York: BearManor Media, 2010); Elizabeth Young, Black Frankenstein: The Making of an American Metaphor (New York: New York University Press, 2008), 160–163; Heffernan, “Looking at the Monster,” 136. 17. While predominantly an invasion tale, the vampire tale, generally, is also a projection of demonic possession. Outside forces trans- form the victims of the vampire; something evil (that is not part of themselves) possesses their bodies. Van Helsing in this model, then, serves as the exorcist. 18. Tudor, Monsters and Mad Scientists, 90–93. 19. Ronald Foust, “Rite of Passage: The Vampire Tale as Cosmo- gonic Myth,” in Aspects of Fantasy, ed. William Coyle (Westport, CT: Greenwood Press, 1986), 78. Notes 179 20. Jones, Monsters from the Id, 105. In this sense, he is not unlike the Professor from Gilligan’s Island, whose field of study is nebu- lous but seems to include various natural sciences (like chemistry and ethnobotany) and various social sciences, including the lan- guages, religions, and cultural practices of Pacific Islanders. 21. Tudor, Monsters and Mad Scientists, 165. 22. Jones, Monsters from the Id, 124. 23. Quoted in Foust, “Rite of Passage,” 79. 24. Jones, Monsters from the Id, 109. 25. Thomas Schatz, The Genius of the System: Hollywood Filmmaking in the Studio Era (New York: Henry Holt, 1988), 252. 26. Ibid., 87–88. 27. Ibid., 89–91. 28. Carl Laemmle, founder of Universal Pictures, was so sure of Dracula’s potential for success that he signed the deal to produce Frankenstein two weeks before the release of the first film. 29. The film even ended with a plea for the audience to purchase war bonds. 30. Schatz, The Genius of the System, 92. 31. Tudor, 133. 32. Whale’s films are perhaps the only two Frankenstein films in which the term “protagonist” could be applied to Dr. Frankenstein. There are many films in which Frankenstein serves as the antago- nist, and several in which he could be considered an antihero. The only other film in this sample in which one could possibly describe Frankenstein as the protagonist would be Frankenstein Meets the Space Monster. 33. As shall be discussed later, it is unimaginable that Peter Cush- ing’s Frankenstein (Hammer Films) would express such feelings of conscience. 34. This theme would be revisited in Andy Warhol’s Frankenstein pic- ture, Flesh for Frankenstein (1973). 35. This is a trope that would be more thoroughly and artfully explored in several of the Hammer Frankenstein films. 36. Again, this is an idea that would be more fully explored in the Hammer Frankenstein cycle. 37. This breaks with the anti-intellectual assumptions that support most of these films. Ludwig assumes that if he puts the brain of a man of character and learning into the monster that the monster will become moral. 180 Notes 38. Schatz, The Genius of the System, 347. 39. Ibid., 465–466. 40. As Young points out in her brilliant book, Black Frankenstein, Shelley’s Frankenstein was not created as a slave. That is, he is not forced to engage in unpaid labor (p. 44). This is also true for the first two films in the Universal Frankenstein cycle. The idea that the creation would obey his creator unconditionally is a development within film history, and it appears to find its genesis with Ygor’s snake-charmer-like flute used to compel the monster to do his bidding in Son of Frankenstein and Ghost of Frankenstein. 41. David Pirie, A Heritage of Horror: The English Gothic Cinema, 1946–1972 (New York: Equinox Books, 1973), 30. 42. American Dracula and Frankenstein films from the 1950s to the 1970s were isolated events, usually produced by small film studios specializing in drive-in movie fare and exploitation films. 43. Jonathan Rigby, English Gothic: A Century of Horror Cinema (London: Reynolds and Hearn, 2004), 48. 44. Ibid., 56–57. In one interview, Terence Fisher, director of several of Hammer’s most prominent Frankenstein and Dracula entries, described his own interest in British source material, saying that he was brought up on Gothic horror tradition, “and I think we knew what it was all about; it may be something English. James Whale was English, I believe.” 45. Gary A. Smith, Uneasy Dreams: The Golden Age of British Horror Films, 1956–1976 (Jefferson, NC: McFarland, 2000), 53. 46. Ibid., 8. 47. Tudor, Monsters and Mad Scientists, 40. 48. Rigby, English Gothic, 57. 49. Pirie, Heritage of Horror, 73. 50. There was a Hammer Frankenstein film featuring Peter Cushing as the doctor between The Revenge of Frankenstein and Franken- stein Created Woman. It was entitled The Evil of Frankenstein. The character of Frankenstein is much different in this film, self- pitying and emasculated. Even the monster is different in both appearance and attitude from Christopher Lee’s monster in the first film. Scholars and fans tend to view this film as distinctly out of step with the rest of the series. Likewise, The Horror of Fran- kenstein (1970), which was both a black comedy and the only Hammer Frankenstein film to use an actor other than Cushing for the title role, does not fit well within the broader Hammer Frankenstein context. For those reasons, and the interest of space, those two films will not be included in this examination. Notes 181 51. Tudor, Monsters and Mad Scientists, 148; Smith, Uneasy Dreams, 90. 52. This particular sequence of the film is uncomfortably shocking. It might be helpful to see the scene within the broader context of the Frankenstein series. Dr. Frankenstein does not demon- strate the same level of misogyny in any of the other Hammer films. Coming right after Frankenstein Created Woman, however, the rape scene might best be read as Dr. Frankenstein’s revenge against women for the “feminine” weakness that destroyed his creation in the previous film. 53. Within the context of Hammer horror films, this seems to have a social class element as well. Baron Frankenstein is able to do what he wants because he is an aristocrat. 54. The film seems to be making a visual allusion to Sherlock Holmes, a role also famously played by Peter Cushing. 55. Rigby, English Gothic, 66. 56. Ibid., 100. 57. Dracula vs. Frankenstein (1971) also featured a descendent of Dr. Frankenstein as one of its two title villains. 58. The backwards spelling “Alucard” was also an alias used by Drac- ula in the Chaney film Son of Dracula. 59. Rigby, English Gothic, 238. 60. Tudor, Monsters and Mad Scientists, 56–60. 61. Ibid. 62. None of the major film studios produced either Dracula or Frankenstein films. That having been said, several of the studios, including Universal and Paramount, inked deals to distribute Hammer Frankenstein and Dracula films. 63. Dan Curtis (who was also the creator of the vampire soap opera, Dark Shadows) directed what is perhaps the film in this sample that most closely resembles Stoker’s novel.

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