The Frankenstein narrative is one of cinema's most durable, and
it is often utilized by the studio system and the most renegade
independents alike to reveal our deepest aspirations and greatest
anxieties. The films have concerned themselves with demarcations of
gender, race, and technology, and this new study aims to critique
the more traditional interpretations of both the narrative and its
sustained popularity. From James Whale's "Frankenstein" (1931)
through Kenneth Branagh's "Mary Shelley's Frankenstein" (1994), the
story remains a nuanced and ultimately ambivalent one and is
discussed here in all of its myriad terms: aesthetic, cultural,
psychological, and mythic.
Beginning with an examination of the narrative's origins in the
myth of the birth of Dionysus from the thigh of Zeus, "The
Cinematic Rebirths of Frankenstein" goes on to consider each of the
filM's many incarnations, from the Universal horror films of the
thirties through the British Hammer series and beyond. Moving
easily between the scholarly and the popular, the book employs both
primary texts-including scripts, posters, and documentation of
production histories-and a rigorous, scholarly examination of the
many implications of this often-misunderstood subgenre of horror
cinema.
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