The Composite Frankenstein: the Man, the Monster, the Myth
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The Machine at the Mad Monster Party
1 The Machine at the Mad Monster Party Mad Monster Party (dir. Jules Bass, 1967) is a beguiling film: the superb Rankin/Bass “Animagic” stop-motion animation is burdened by interminable pacing, the celebrity voice cast includes the terrific Boris Karloff and Phyllis Diller caricaturing themselves but with flat and contradictory dialogue, and its celebration of classic Universal Studios movie monsters surprisingly culminates in their total annihilation in the film’s closing moments. The plot finds famous Dr. Baron Boris von Frankenstein convening his “Worldwide Organization of Monsters” to announce both his greatest discovery, a “formula which can completely destroy all matter,” and his retirement, where he will surprisingly be succeeded not by a monster but by something far worse: a human, his nebbish pharmacist nephew Felix Flanken. Naturally, this does not sit well with the current membership, nor even Felix, who is exposed to monsters for the first time in his life and is petrified at what he sees. Thus, a series of classic monsters team up to try to knock off Felix and take over for Baron Frankenstein: Dracula, The Werewolf, The Mummy, The Invisible Man, Dr. Jekyll & Mr. Hyde, The Creature from the Black Lagoon, The Hunchback of Notre Dame, Frankenstein’s Monster, The Monster's Mate, King Kong (referred to only as “It”), Yetch (an ersatz Peter Lorre/Igor hybrid), and Francesca, the buxom red-head secretary. Much of the plot’s comedy is that Felix is so humanly clueless: glasses-wearing, naive, constantly sneezing, he fails to recognize the monsters’ horribleness and manages to avoid their traps mainly by accident and dumb luck. -
“The Bride of Frankenstein” (1935) by Dr
Short Review: “The Bride of Frankenstein” (1935) by Dr. John L. Flynn Bride of Frankenstein, The (1935). Universal, b/w, 80 min. Director: James Whale. Producer: Carl Laemmle. Screenwriters: John Balderston and Willim Hurlbut. Cast: Boris Karloff, Colin Clive, Elsa Lanchester, Ernest Thesiger, Valerie Hobson, and Dwight Frye. The first of many Universal sequels following Whale’s classic, this was one of the few sequels that was actually superior to the original. After a brief prologue that pays homage to Mary and Percy Shelley, Lord Byron and their writing competition that inspired Frankenstein, the film picks up right where the original ended, with the monster (Karloff) dying in fire. But the monster did not die, and is soon out terrorizing the locals again. Dr. Praetorius (Thesiger) and his demented assistant Karl (Frye) pay Frankenstein (Clive) a visit, and soon the three are at work on a new creature (Lanchester). Not long after his “bride” is brought to life, the monster drops in to claim her, but she only has eyes for Frankenstein. Angered, the monster blows up the laboratory, and the usual conflagration consumes them all. “Bride” was clearly the most stylishly mounted production of the 1930's, and represents a high-water mark of the Golden Age of the American Horror Film. But it should be noted that the film title is really a misnomer and has contributed much to the confusion of the mad doctor's name with the monster. The title should have been "The Bride of the Monster of Frankenstein." Oh, well. Followed four years later by “Son of Frankenstein.” Copyright 2016 by John L. -
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 Dracula Film Adaptations
DRACULA IN THE DARK DRACULA IN THE DARK The Dracula Film Adaptations JAMES CRAIG HOLTE Contributions to the Study of Science Fiction and Fantasy, Number 73 Donald Palumbo, Series Adviser GREENWOOD PRESS Westport, Connecticut • London Recent Titles in Contributions to the Study of Science Fiction and Fantasy Robbe-Grillet and the Fantastic: A Collection of Essays Virginia Harger-Grinling and Tony Chadwick, editors The Dystopian Impulse in Modern Literature: Fiction as Social Criticism M. Keith Booker The Company of Camelot: Arthurian Characters in Romance and Fantasy Charlotte Spivack and Roberta Lynne Staples Science Fiction Fandom Joe Sanders, editor Philip K. Dick: Contemporary Critical Interpretations Samuel J. Umland, editor Lord Dunsany: Master of the Anglo-Irish Imagination S. T. Joshi Modes of the Fantastic: Selected Essays from the Twelfth International Conference on the Fantastic in the Arts Robert A. Latham and Robert A. Collins, editors Functions of the Fantastic: Selected Essays from the Thirteenth International Conference on the Fantastic in the Arts Joe Sanders, editor Cosmic Engineers: A Study of Hard Science Fiction Gary Westfahl The Fantastic Sublime: Romanticism and Transcendence in Nineteenth-Century Children’s Fantasy Literature David Sandner Visions of the Fantastic: Selected Essays from the Fifteenth International Conference on the Fantastic in the Arts Allienne R. Becker, editor The Dark Fantastic: Selected Essays from the Ninth International Conference on the Fantastic in the Arts C. W. Sullivan III, editor Library of Congress Cataloging-in-Publication Data Holte, James Craig. Dracula in the dark : the Dracula film adaptations / James Craig Holte. p. cm.—(Contributions to the study of science fiction and fantasy, ISSN 0193–6875 ; no. -
Marquetry on Drawer-Model Marionette Duo-Art
Marquetry on Drawer-Model Marionette Duo-Art This piano began life as a brown Recordo. The sound board was re-engineered, as the original ribs tapered so soon that the bass bridges pushed through. The strings were the wrong weight, and were re-scaled using computer technology. Six more wound-strings were added, and the weights of the steel strings were changed. A 14-inch Duo-Art pump, a fan-expression system, and an expression-valve-size Duo-Art stack with a soft-pedal compensation lift were all built for it. The Marquetry on the side of the piano was inspired by the pictures on the Arto-Roll boxes. The fallboard was inspired by a picture on the Rhythmodic roll box. A new bench was built, modeled after the bench originally available, but veneered to go with the rest of the piano. The AMICA BULLETIN AUTOMATIC MUSICAL INSTRUMENT COLLECTORS’ ASSOCIATION SEPTEMBER/OCTOBER 2005 VOLUME 42, NUMBER 5 Teresa Carreno (1853-1917) ISSN #1533-9726 THE AMICA BULLETIN AUTOMATIC MUSICAL INSTRUMENT COLLECTORS' ASSOCIATION Published by the Automatic Musical Instrument Collectors’ Association, a non-profit, tax exempt group devoted to the restoration, distribution and enjoyment of musical instruments using perforated paper music rolls and perforated music books. AMICA was founded in San Francisco, California in 1963. PROFESSOR MICHAEL A. KUKRAL, PUBLISHER, 216 MADISON BLVD., TERRE HAUTE, IN 47803-1912 -- Phone 812-238-9656, E-mail: [email protected] Visit the AMICA Web page at: http://www.amica.org Associate Editor: Mr. Larry Givens VOLUME 42, Number -
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. -
Another Look at Cain: from a Narrative Perspective
신학논단 제102집 (2020. 12. 31): 241-263 https://doi.org/10.17301/tf.2020.12.102.241 Another Look at Cain: From a Narrative Perspective Wm. J McKinstry IV, MATS Adjunct Faculty, Department of General Education Presbyterian University and Theological Seminary In the Hebrew primeval histories names often carry significant weight. Much etymological rigour has been exercised in determining many of the names within the Bible. Some of the meaning of these names appear to have a consensus among scholars; among others there is less consensus and more contention. Numerous proposals have come forward with varying degrees of convincing (or unconvincing as the case may be) philological arguments, analysis of wordplays, possi- ble textual emendations, undiscovered etymologies from cognates in other languages, or onomastic studies detailing newly discovered names of similarity found in other ancient Semitic languages. Through these robust studies, when applicable, we can ascertain the meanings of names that may help to unveil certain themes or actions of a character within a narrative. For most of the names within the primeval histories of Genesis, the 242 신학논단 제102집(2020) meaning of a name is only one feature. For some names there is an en- compassing feature set: wordplay, character trait and/or character role, and foreshadowing. Three of the four members in the first family in Genesis, Adam, Eve, and Abel, have names that readily feature all the elements listed above. Cain, however, has rather been an exception in this area, further adding to Genesis 4’s enigmaticness in the Hebrew Bible’s primeval history. While three characters (Adam, Eve, and Abel) have names that (1) sound like other Hebrew words, that are (2) sug- gestive of their character or actions and (3) foreshadow or suggest fu- ture events about those characters, the meaning of Cain’s name does not render itself so explicitly to his character or his role in the narrative, at least not to the same degree of immediate conspicuousness. -
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. -
ASC Founders
The 15 Founders of the American Society of Cinematographers Biographies By Robert S. Birchard The American Society of Cinematographers succeeded two earlier organizations — the Cinema Camera Club, started by Edison camerapersons Philip E. Rosen, Frank Kugler and Lewis W. Physioc in New York in 1913; and the Static Club of America, a Los Angeles–based society first headed by Universal cameraperson Harry H. Harris. From the beginning, the two clubs had a loose affiliation, and eventually the West Coast organization changed its name to the Cinema Camera Club of California. But, even as the center of film production shifted from New York to Los Angeles — the western cinematographers’ organization was struggling to stay afloat. Rosen came to Los Angeles in 1918. When he sought affiliation with the Cinema Camera Club of California, president Charles Rosher asked if he would help reorganize the faltering association. Rosen sought to create a national organization, with membership by invitation and with a strong educational component. The reorganization committee met in the home of William C. Foster on Saturday, December 21, 1918 and drew up a new set of bylaws. The 10-member committee and five invited Cinema Camera Club member visitors were designated as the board of governors for the new organization. The next evening, in the home of Fred LeRoy Granville, officers for the American Society of Cinematographers were elected — Philip E. Rosen, president; Charles Rosher, vice president; Homer A. Scott, second vice president; William C. Foster, treasurer; and Victor Milner, secretary. The Society was chartered by the State of California on January 8, 1919. -
LIKE FATHER, LIKE SON GENESIS 4:1–2 Why Did Cain Kill His Brother Abel?
CHAPTER ONE LIKE FATHER, LIKE SON GENESIS 4:1–2 You two are book-men: can you tell me by your wit; What was a month old at Cain’s birth, that’s not five weeks old as yet? (Shakespeare—Love’s Labor’s Lost 4.2.40) Why did Cain kill his brother Abel? It is usually assumed by modern commentators that God’s rejection of Cain’s offering led him to kill his brother in a fit of jealousy.1 Such a conclusion is logical in light of the way the action in the story is arranged. But the fact is we are never told the specific reason for the murder. Ancient exegetes, as we will see later, also speculated over Cain’s motive and sometimes provided the same conclusion as modern interpreters. But some suggested that there was something more sinister behind the killing, that there was something inborn about Cain that led him to earn the title of first murderer. These interpreters pushed back past the actual murder to look, as would a good biographer, at what it was about Cain’s birth and childhood that led him to his moment of infamy. Correspond- ingly, they asked similar questions about Abel. The result was a devel- opment of traditions that became associated with the brothers’ births, names and occupations. Who was Cain’s father? As we noted in the introduction, Cain and Abel is a story of firsts. In Gen 4:1 we find the first ever account of sexual relations between humans with the end result being the first pregnancy. -
Torrance Herald
THURSDAY, FEBRUARY 11, 1932 TOftRANCE HERALD. Torrance, Calif. PAGE 3-B 1 BABY NEEDS NEW .SHOES What's On Next Week In Nearby Theatres WE5JC OF THURSDAY FRIDAY SATURDAY SUNDAY WON DAV TUESDAY WEDNESDAY Fab. 11 to, Feb. 17 FEBRUARY 11 FEBRUARY 12 FEBRUARY 13 FEBRUARY 14 FEBRU IkRY 15 FEBRUARY 16 FEBRUARY 17 ^^^^H "THE LEO CARRILLO XV It 41 DOUGLAS V**^. v A | JHIH^HH Bros. SECRET -THE GUILTY *| 1**,^*% "'T^ fi.ai-i.rfcf 8AN PEDRO j WITNESS" GENERATION" VxIIlUll itoVioiBu. J^CLJVJl Him VT*Aiiiukswr CONSTANCE CUMMINGS JLV FOX i O 99 —2 FEATURE PICTURES eje^e^e^ H^en^H. 'The Guardsman' s^f ^E° " S K Y D E V 1 1i iJ % RUTH CHATTERTON in GRANADA 1 IlC VlUai UdillalK ,.THE-*^NET with an ALL STAR CAJ3T "Tomorrow and Tomorrow" WILMWGTON with ALFRED LUNT, PATROL" Monday Night Only- ALSO H^^PHn General or Any ROLAND YOUNG Admission bwCTime and JZASU PITTS with ^^n"°^ AUCTION NITE - G IFTS "X Marks The Spot" «at fox redondo i''ox Chain Under a t.warner.•'.'' ',• ' 1_bros, . the-, . srr«cnfoui. attraction.(tays, playln!? H is lhrouBhbooked K<t><jgister Now Death Valley Gets New Management fian nedrO Wednesday. DouKlas Fairbanks, For Election Phone Connections 'Shanghai Express" and oan pt-u^iu Jr is thp stai. ana the ona,.mlng Five hundred theaters of the Held April 11 "Emma" Coming N«xt Joan Blondell plays opposite him. Death Valley, enshrouded for ^^MBT' ^^ Week ^-cst coast and middle west are T I pierce l today by telephone lent February 15 when Skouras Booked at San Pedro favorites have been cast together, eonling municipal election on April voices Friday'and Saturday at the Fox f for 1 Iros., chain theater operators ot ShOW House "Union Depot" la a rare combl- 11 must register before midnight le first time. -
Danamare Productions Mobile DJ & Karaoke Karaoke Songbook Sorted by Title
Danamare Productions Mobile DJ & Karaoke Karaoke Songbook Sorted by Artist 1 Artist Title ID 10 Years Beautiful 320 112 Peaches and cream 320 2 Live Crew Me So Horny (PA) 320 3 Doors Down Let Me Go (Rock Version) 320 3 Doors Down Loser 320 3 DOORS DOWN LOSER 320 3 Doors Down Citizen Soldier 320 3 Doors Down Kryptonite 320 3 Doors Down Kryptonie 320 3 Doors Down Kryptonite 320 38 Special Hold On Loosely 320 42nd STREET LULLABYE OF BROADWAY 320 5 man electric band Signs 320 5 Seconds Of Summer She Looks So Perfect 320 5 Seconds Of Summer Amnesia- 5 Seconds Of Summer 320 5 Seconds Of Summer Amnesia- 320 5 Seconds Of Summer She Looks So Perfect 320 50 Cent Disco Inferno 320 50 Cent In Da Club 320 98 Degrees The Hardest Thing 320 98 Degrees I Do 320 A-ha Take me on 320 A CHORUS LINE WHAT I DID FOR LOVE 320 A CHORUS LINE NOTHING 320 A Gret Big World & Christina Say Something 320 A3 Woke Up This Morning 320 Aaliyah I Don't Wanna 320 Aalyiah Try Again 320 Aaron Neivelle Tell it like it is 192 Aaron Neville Everybody Plays The Fool 320 Aaron Tippin People Like Us 320 Abba Waterloo 320 Abba Dancing Queen 320 Abba Waterloo 320 AC DC / Stiff Upper Lip 320 AC DC / Highway To Hell 320 AC DC / Whole Lotta Rosie 320 AC DC / Stiff Upper Lip 320 AC-DC You shook me all night long 320 AC DC Big Balls (PA) 320 Danamare Productions Mobile DJ & Karaoke - Karaoke Songbook by Artist 2 Artist Title ID ACDC Back In Black 320 ACDC Hell's Bells 320 ACDC (made famous by ~) (karao Highway to hell 320 Ace Of Base Living In Danger 320 Ace Of Base Sign -- Act Naturally