Word: frankensteins
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...lectures on female body images while her head is attached to a body made up of meat parts. She splits the screen with a clip from "How to Marry a Millionaire," in which Marilyn Monroe sings seductively to a bunch of tuxedoed gents, with another clip featuring the Frankenstein monster. By doing so, Braderman overstates her point that Marilyn Monroe is a monstrous media creation, the ultimate "Movie Goddess Machine...
...when she is upset about an oppressive media representation, became irritating after a while. Nonetheless, the video is relatively short (one hour), fast-paced, and filled with terrific clips from movies including "On the Beach," "Cat on a Hot Tin Roof," "Breakfast at Tiffany's." "The Wizard of Oz," "Frankenstein," and "Sunset Boulevard...
...Spirit of the Beehive," Ana internalizes a powerful scene from the 1931 "Frankenstein" in which a little girl, having been befriended and then killed by the creature, is lovingly carried through the streets of the town by her father, who regrets having left her to go to work. Ana's mother writes love letters to an unknown man while Ana's older sister starts to play with children her age. Her father is removed and cold, listening stonily as Dr. Frankenstein describes his desperate hope to discover the meaning of beauty in the universe. He minds his beehives calmly, without...
...skull as an indicator of personality and behavior, is used as a horror technique, obscuring true possibilities of horror. The brain transplanted into Boris Karloff's monster is that of a psychopathic criminal, presumed to be preprogrammed for murder and mayhem. The revealing of this fact to 'Dr. Frankenstein extracts a reaction of dread at the inevitable terrors such a brain, reanimated, will produce. Yet Karloff is at his most terrifying when he appears to be gentle, as when he plays in pure joy with the child he will soon kill. Shelley realized this, and both her monster and Branagh...
Films purporting to be inspired by Mary Shelley's Frankenstein story often reflect the fascinations and obssessions of their creators far more accurately than the text they seek to imitate. Branagh's inclusion of a plague which destroys lives even faster than his monster, speaks dirctly to modern audiences, reconnecting them to Shelley's text. A film audience would be quite surprised, having viewed the films of the Brattle series or Branagh's film, to see what the text actually says. Its power, however, lies in that very ability to inspire the imagination which makes cinematic interpretations so problematic. There...