By Caroline Joan S. Picart
Concentrating on movies outdoors the horror style, this publication bargains a distinct account of the Frankenstein myth’s acceptance and patience. even supposing the Frankenstein narrative has been a staple in horror motion pictures, it has additionally crossed over into different genres, fairly comedy and technology fiction, leading to such motion pictures as Abbott and Costello Meet Frankenstein, younger Frankenstein, The Rocky Horror photograph convey, Bladerunner, and the Alien and Terminator movie sequence. as well as addressing horror’s dating to comedy and technological know-how fiction, the ebook additionally explores the flexibility and gear of the Frankenstein narrative as a modern delusion wherein our private attitudes bearing on gender (masculine as opposed to feminine), race (Same as opposed to Other), and know-how (natural as opposed to synthetic) are either published and hid. The booklet not just examines the movies themselves, but additionally explores early drafts of movie scripts, scenes that have been reduce from the ultimate releases, exposure fabrics, and reports, for you to think of extra totally how and why the Frankenstein delusion maintains to resonate within the well known mind's eye.
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Additional resources for Remaking the Frankenstein Myth on Film: Between Laughter and Horror
Sample text
In the script, Sandra is a collaborator in the kidnapping, as she appears from the cabin and casts off the line. The film, relative to the script, thus reduces her role and makes it appear as though Dracula had accomplished the whole thing by himself. In the meantime, in Dracula’s dungeon, Wilbur is locked within a structure that resembles a stockade except that he is immobilized only by his neck. On Wilbur’s right, Sandra stares vacantly ahead; on his left side, the Monster sits impassively. The trinitarian structure of Sandra, Wilbur, and the Monster, alongside the centrality of Dracula’s coffin, could be interpreted as harking back comedically to Whale’s parodic depiction of the birth of the Monster as an ill-fated Resurrection.
Dracula, for the first time, shows fear, and attempts to get away by shoving the rolling table, with Wilbur strapped to it, at the Wolf Man. The two creatures strategically use the table, with the werewolf doing the attacking and the vampire trying to evade the Wolf Man’s grasp. With a mighty heave, Dracula sends the table and the screaming Wilbur revolving at a rapid rate as the vampire escapes through the door. The Wolf Man follows in hot pursuit. The table finally stops spinning, and Chick unties the dizzy Wilbur.
46 In addition, Brooks also acknowledges the centrality of the female characters to the generation of the Frankenstein narrative, unlike its straight horror predecessors. He notes: “We thought of the two women [Inga, the laboratory assistant (Teri Garr) and Elizabeth, Fronkonsteen’s fiancée (Madeline Kahn)] as very important, very strong for the story. ”47 One of the crucial points of this analysis is to focus precisely on the roles these women play in shaping the developing interactions in Young Frankenstein.