Introduction the Frankenstein Complex: When the Text Is More Than a Text Dennis R
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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 -
ALLA MÄNNISKOR ÄLSKAR OSS SÅ LÄNGE VI TILLHÖR DEM” En Studie Av Relationen Mellan Människor Och Människoliknande Robotar I Westworld Och Äkta
INSTITUTIONEN FÖR KULTURVETENSKAPER ”ALLA MÄNNISKOR ÄLSKAR OSS SÅ LÄNGE VI TILLHÖR DEM” En studie av relationen mellan människor och människoliknande robotar i Westworld och Äkta Människor. Emelie Forslund Uppsats/Examensarbete: 15 hp Program och kurs: Kandidatprogram i kultur, KP1125 Nivå: Kandidatnivå Termin/år: VT 2018 Handledare: Thomas Bossius Examinator: Ola Stockfelt ABSTRACT Titel: ”Alla människor älskar oss så länge vi tillhör dem” – En studie av relationen mellan människor och människoliknande robotar i Westworld och Äkta Människor. Författare: Emelie Forslund Termin och år: VT 2018 Institution: Institutionen för kulturvetenskaper Handledare: Thomas Bossius Examinator: Ola Stockfelt Nyckelord: Human-robot interaction, Science fiction television, Science fiction – Criticism and interpretation, Representation, Frankenstein complex SUMMARY: In this study the goal has been to analyze how the relationship between humans and robots are represented in two science fiction series; Westworld and Real Humans (Äkta Människor). Based on the theories of Stuart Hall about representation, Julie Wosk’s book My fair laides and Gorman Beauchamps article The Frankenstein complex and Asimov’s Robots, I have studied how the humanlike robots are represented and how the myths of the Frankenstein complex and the myth of Pygmalion are represented in the two series. The conclusions that could be drawn from this analysis was that there where many reproductions of the typical sci-fi myths and racial and gender stereotypes in the representations of the robots as the “other”. But there were also some more complex representations of the relation between robots and humans in the series. Keywords: Human-robot interaction, Science fiction television, Science fiction – Criticism and interpretation, Representation, Frankenstein complex INNEHÅLLSFÖRTECKNING 1. -
Life, but Not As We Know It: A.I. and the Popular Imagination
Life, but not as we know it: A.I. and the popular imagination By Luke Goode Abstract Advances in artificial intelligence (A.I.) are prompting a growing chorus of both excitement and anxiety. A.I. is widely perceived as a significant emerging and future-shaping technological field that is developing at an accelerating rate. As such, futuristic imagery involving A.I. is increasingly prevalent in popular media. A central task for critical future studies is to assess both positive and problema- tic aspects of the futuristic scenarios offered up for public consumption, and to evaluate their role as part of a ‘futural public sphere’ (Goode & Godhe 2017). In this paper, I discuss three distinct but interwoven strands of public discourse that each have a role to play in shaping the popular imagination around possible A.I. futures. I begin with a selective discussion of mainstream science fiction represe- nations. Secondly, I consider several recent and high-profile popular media events surrounding real-world developments in A.I. Finally, I turn to contemporary fu- turology and, specifically, the discourse of the ‘singularity’ which posits a near future in which artificial ‘superintelligence’ outstrips human cognitive capacities. In this paper I argue that, while much popular coverage of A.I. is sensationalist and potentially misleading, public engagement with a complex, technical subject such as this depends on the circulation of ’evocative stories’ which can act as entry points into public debate. As such, it is important to understand the evocative power of the stories we frequently tell ourselves in popular discourse about A.I. -
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. -
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. -
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. -
Fotp18 Mad Science Cinema Film Series Flyer
Mad Science Cinema Friday, September 14 · 12:30 p.m. One Book, Frankenstein One Community 2018 This is the original full‐length feature film adaptation of Mary Shelley’s novel, and the one that gave us the visual image of the Monster that we all Film Series recognize. Colin Clive stars as Dr. Frankenstein, with Boris Karloff as his Creature. People all over the world are reading 1931 / 70 min. / Not rated / © Universal Frankenstein this year in celebration of Friday, September 28 · 12:30 p.m. the 200th anniversary of its publication, and The Bride of Frankenstein Fayette County is getting Clive and Karloff return in this sequel in which the scientist builds his in on the fun! Creature a mate. Elsa Lanchester plays dual roles, appearing both as the The Fayette County Public Bride and as author Mary Shelley, in a story‐within‐a‐story format. Library, in partnership with 1935 / 75 min. / Not rated / © Universal the Friends of the Fayette County Public Library, presents a series of Saturday, September 29 · CREATURE TRIPLE FEATURE free community activities Frankenstein: 10:00 a.m. focusing on Repeat Screenings! Frankenstein The Bride of Frankenstein: 12:00 noon by Mary Shelley. A.I. Artificial Intelligence: 3:00 p.m. The Fayette on the Page 2018 Film Series Friday, October 5 · 12:30 p.m. offers a collection of cinematic stories A.I. Artificial Intelligence influenced by Shelley’s tale Frankenstein has influenced numerous stories of the ramifications of of Victor Frankenstein and his unfortunate Creature. manmade creatures. Here is one that will definitely make you think. -
Pearson English Active Reading Level 3: Frankenstein 9781292121512
CHAPTER 1 Young Frankenstein I was interested in the secrets of the sky and the earth, of the natural world. y name is Victor Frankenstein. I come from Geneva, in Switzerland, and M my family is one of the most important in that country. When I was very young, my parents travelled a lot. I was their only child, and they took me with them. My parents were kind and they loved me very much. My earliest memories are happy ones. When I was about five years old, we stayed for a week at Lake Como in Italy. My mother was a kind woman and visited a poor family on a farm. They had five children. Four had dark hair like the man and his wife, but the other child, a girl, had fair hair and looked quite different. The farmer’s wife told my mother the child’s history. The girl’s name was Elizabeth Lavenza, and she was the daughter of a rich man from Milan. Her mother died when she was born. Elizabeth’s father died too, trying to free his country from a bad government. He lost everything – his house and his money. It was all taken away. Hispages child was left with this family. My mother wanted to have another child very much. And she wanted a daughter. When she saw Elizabeth, she loved her immediately. She wanted to bring Elizabeth up as her own child. She talked to the farmer and his wife about her idea. The farmer and his wife loved the girl, but they agreed. -
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 Au Cinéma
La Revue du Ciné-club universitaire, 2016, no 3 It’s alive! Frankenstein au cinéma Ciné-club UniversitaireACTIVITÉS CULTURELLES Illustration Sommaire 1ère de couverture: Frankenstein, James Whale, 1931 Histoire d’une créature fictionnelle Groupe de travail du Ciné-club universitaire Julien Dumoulin, Emilien Gür, Michel Porret et Julien Dumoulin, Emilien Gür, Cerise Dumont, Michel Porret, Olinda Testori ..................................................................... 3 Olinda Testori, Thibault Zanoni, Francisco Marzoa, Jeanne Richard Survie de la créature au cinéma Activités culturelles de l’Université Emilien Gür .........................................................................13 responsable: Ambroise Barras coordination: Christophe Campergue édition et graphisme: Véronique Wild et Julien Jespersen Quelques réflexions sur les films de Whale Julien Dumoulin ...............................................................25 L’acteur derrière le masque du monstre Francisco Marzoa .............................................................35 Le moment Hammer Michel Porret .................................................................... 41 Le laboratoire à la croisée des mondes Cerise Dumont ...................................................................59 Monstre, qui es-tu? Jeanne Richard ..................................................................65 Abnormal brain: «l’âme» déformée de la créature Thibault Zanoni ................................................................ 73 «Frankenstein» et «The Curse»: -
This Week in the Susquehanna River Valley April 17-27, 2019 This Is Just a Sampling of Events This Week
This Week in the Susquehanna River Valley April 17-27, 2019 This is just a sampling of events this week. For many more events, go to www.VisitCentralPA.org and click on “Events” ARTS & ENTERTAINMENT April 17-27: Events this Week at Your Campus Theatre How to Train Your Dragon: The Hidden World (4/18) As their true destinies are revealed, dragon and rider will fight together-to the very ends of the Earth-to protect everything they've grown to treasure. Apollo 11 (4/19-25) This cinematic space event film was fifty years in the making and features never-before-seen large- format film footage of one of humanity's greatest accomplishments. FREE BU Film Screenings: Dracula & Vampyr (4/17); Music Program (4/19); Ratatouilli (4/22); Ash Is Purest White (4/23); Flesh for Frankenstein (4/24); Mahagonny and The Owl’s Legacy: “Mathematicsor, and The Empire Counts Back (4/26); and Cold Fish (4/27). For information and movie times visit www.CampusTheatre.org. Lewisburg April 18: The Afro-Cuban All Stars Embracing several generations and all musical styles, this unique orchestra has always been devoted to performing the full range of Cuban music. The Afro-Cuban All Stars features a rotating, multi-generational cast and draws on both classic and Cuban styles like son and danzón and contemporary dance rhythms like timba. www.susqu.edu Weber Chapel Auditorium, Susquehanna University, Selinsgrove April 23-27: Community Arts Center Performances Craig Karges (4/23) The art of magic, the science of psychology, and the power of intuition create the impression that nothing is impossible. -
Mary Shelley: Life and Works British Romantic Indira Gandhi Literature National Open University School of Humanities
BEGC -109 Mary Shelley: Life and Works British Romantic Indira Gandhi Literature National Open University School of Humanities Block 4 MARY SHELLEY: FRANKENSTEIN Unit 1 Mary Shelley: Life and Works 189 Unit 2 Frankenstein: A Gothic Novel 203 Unit 3 Frankenstein: Summary and Analysis 213 Unit 4 Frankenstein: Major Themes 229 187 Mary Shelley: Frankenstein BLOCK INTRODUCTION This Block will introduce you to one of the important After the completion of this block, you will be introduced toMary Shelley(1797-1851), also known as Mary Wollstonecraft Shelley, a British novelist. You will • get introduced to the gothic tradition. • be familiarised with the major influential factors on the Gothic with special reference to Mary Shelley. • comprehend her effects worldwide. • trace her impacts on the later generations. ACKNOWLEDGEMENT The material (pictures and passages) we have used is purely for educational purposes. Every effort has been made to trace the copyright holders of material reproduced in this book. Should any infringement have occurred, the publishers and editors apologize and will be pleased to make the necessary corrections in future editions of this book. 188 UNIT 1 Mary SHELLEY: LIFE AND WORKS Mary Shelley: Life and Works Structure 1.0 Objectives 1.1 Introduction 1.2 Infancy And Early Years 1.3 Challenge Preadolescence 1.4 Teenage 1.5 Mary's Relocation 1.6 Love Life 1.7 Mary's Journey To London 1.8 Mary and Her Personal Calamities 1.9 Mary's First Novel Frankenstein or The Modern Prometheus 1.10 Story of "Frankenstein or The Modern Prometheus 1.11 Other Works of Mary Shelley 1.12 Last Stage of Mary Shelley's Life 1.13 Let Us Sum Up 1.14 Questions and Answer Keys 1.15 Suggested Readings 1.0 OBJECTIVES It is evident that the life account of a famous novelist is a storehouse of facts and events which are essential to grasp the background of the author and the literary works.