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Author : Dennis R. Cutchins,Dennis R. Perry Publisher : Manchester University Press Page : 564 pages File Size : 43,7 Mb Release : 2018-08-06 Category : Literary Criticism ISBN : 9781526108937
Adapting Frankenstein by Dennis R. Cutchins,Dennis R. Perry Pdf
This edited collection explores the afterlife of Mary Shelley's Frankenstein in theatre and film, radio, literature and graphics novels, making a substantial contribution to the field of adaptation studies.
Frankenstein, based on the novel by Mary Shelley by Nick Dear Pdf
Slowly I learnt the ways of humans: how to ruin, how to hate, how to debase, how to humiliate. And at the feet of my master I learnt the highest of human skills, the skill no other creature owns: I finally learnt how to lie.Childlike in his innocence but grotesque in form, Frankenstein's bewildered creature is cast out into a hostile universe by his horror-struck maker. Meeting with cruelty wherever he goes, the friendless Creature, increasingly desperate and vengeful, determines to track down his creator and strike a terrifying deal.Urgent concerns of scientific responsibility, parental neglect, cognitive development and the nature of good and evil are embedded within this thrilling and deeply disturbing classic gothic tale.Mary Shelley's Frankenstein, adapted for the stage by Nick Dear, premiered at the National Theatre, London, in February 2011.
The function of comic relief in stage adaptations of Mary Shelley’s "Frankenstein" by Anonim Pdf
Academic Paper from the year 2019 in the subject Didactics - English - Literature, Works, grade: 1,7, , language: English, abstract: Based on the thesis, that the works of James Whale and Richard Brinsely Peake use comic relief in various ways and differ amongst each other, the following paper attempts to investigate in which way, respectively to what extent “Presumption” and “The bride of Frankenstein” adapt Shelley’s novel whereby the emphasis will be on the incidence of comic relief and the impact of using such a rhetorical device. In order to properly use and work with it, there will be a definition of comic relief at the beginning of this paper, followed by a short plot analysis and the audience’s perception, including a comparison of both works and their considerable reviews respectively. This paper will conclude with an evaluation as well as a summary of the results
The Medium Is the Monster by Mark A. McCutcheon Pdf
Technology, a word that emerged historically first to denote the study of any art or technique, has come, in modernity, to describe advanced machines, industrial systems, and media. McCutcheon argues that it is Mary Shelley’s 1818 novel Frankenstein that effectively reinvented the meaning of the word for modern English. It was then Marshall McLuhan’s media theory and its adaptations in Canadian popular culture that popularized, even globalized, a Frankensteinian sense of technology. The Medium Is the Monster shows how we cannot talk about technology—that human-made monstrosity—today without conjuring Frankenstein, thanks in large part to its Canadian adaptations by pop culture icons such as David Cronenberg, William Gibson, Margaret Atwood, and Deadmau5. In the unexpected connections illustrated by The Medium Is the Monster, McCutcheon brings a fresh approach to studying adaptations, popular culture, and technology.
1. This is an exhibition guide published in partnership with the Lilly Library. Although an exhibit guide, it is well-written and entertaining, and will hold appeal to those interested in Frankenstein even if they don't attend the exhibit 2. At past openings to exhibits, attendance has been between 750-1000 people. 3. 2018 is the 200th Anniversary of the publication of the 1818 edition of Frankenstein, the first edition of the book.
The Oxford Handbook of Adaptation Studies by Thomas Leitch Pdf
This collection of forty new essays, written by the leading scholars in adaptation studies and distinguished contributors from outside the field, is the most comprehensive volume on adaptation ever published. Written to appeal alike to specialists in adaptation, scholars in allied fields, and general readers, it hearkens back to the foundations of adaptation studies a century and more ago, surveys its ferment of activity over the past twenty years, and looks forward to the future. It considers the very different problems in adapting the classics, from the Bible to Frankenstein to Philip Roth, and the commons, from online mashups and remixes to adult movies. It surveys a dizzying range of adaptations around the world, from Latin American telenovelas to Czech cinema, from Hong Kong comics to Classics Illustrated, from Bollywood to zombies, and explores the ways media as different as radio, opera, popular song, and videogames have handled adaptation. Going still further, it examines the relations between adaptation and such intertextual practices as translation, illustration, prequels, sequels, remakes, intermediality, and transmediality. The volume's contributors consider the similarities and differences between adaptation and history, adaptation and performance, adaptation and revision, and textual and biological adaptation, casting an appreciative but critical eye on the theory and practice of adaptation scholars--and, occasionally, each other. The Oxford Handbook of Adaptation Studies offers specific suggestions for how to read, teach, create, and write about adaptations in order to prepare for a world in which adaptation, already ubiquitous, is likely to become ever more important.
Critics abhorred it, audiences loved it, and Hammer executives where thrilled with the box office returns: The Curse of Frankenstein was big business. The 1957 film is the first to bring together in a horror movie the 'unholy two', Christopher Lee and Peter Cushing, together with the Hammer company, and director Terence Fisher, combinations now legendary among horror fans. In his Devil's Advocate, Marcus Harmes goes back to where the Hammer horror production started, looking at the film from a variety of perspectives: as a loose literaryadaptation of Mary Shelley's novel; as a film that had, for legal reasons, to avoid adapting from James Whale's 1931 film for Universal Pictures; and as one which found immediate sources of inspiration in the Gainsborough bodice rippers of the 1940s and the poverty row horrors of the 1950s. Later Hammer horrors may have consolidated the reputation of the company and the stars, but these works had their starting point in the creative and commercial choices made by the team behind The Curse of Frankenstein. In the film sparks fly, new life is created and horrors unleashed but the film itself was a jolt to 1950s cinema going that has never been entirely surpassed.
The Afterlives of Frankenstein by Robert I. Lublin,Elizabeth A. Fay Pdf
An exploration of the treatment of Mary Shelley's Frankenstein in popular art and culture, this book examines adaptations in film, comics, theatre, art, video-games and more, to illuminate how the novel's myth has evolved in the two centuries since its publication. Divided into four sections, The Afterlives of Frankenstein considers the cultural dialogues Mary Shelley's novel has engaged with in specific historical moments; the extraordinary examples of how Frankenstein has suffused our cultural consciousness; and how the Frankenstein myth has become something to play with, a locus for reinvention and imaginative interpretation. In the final part, artists respond to the Frankenstein legacy today, reintroducing it into cultural circulation in ways that speak creatively to current anxieties and concerns. Bringing together popular interventions that riff off Shelley's major themes, chapters survey such works as Frankenstein in Baghdad, Bob Dylan's recent “My Own Version of You”, the graphic novel series Destroyer with its Black cast of characters, Jane Louden's The Mummy!, the first Japanese translation of Frankenstein, “The New Creator”, the iconic Frankenstein mask and Kenneth Brannagh's Mary Shelley's Frankenstein film. A deep-dive into the crevasses of Frankenstein adaptation and lore, this volume offers compelling new directions for scholarship surrounding the novel through dynamic critical and creative responses to Shelley's original.
Charles E. Robinson, Professor Emeritus of English at The University of Delaware, definitively transformed study of the novel Frankenstein with his foundational volume The Frankenstein Notebooks and, in nineteenth century studies more broadly, brought heightened attention to the nuances of writing and editing. Frankenstein and STEAM consolidates the generative legacy of his later work on the novel's broad relation to topics in science, technology, engineering, arts, and mathematics (STEAM). Seven chapters written by leading and emerging scholars pay homage to Robinson's later perspectives of the novel and a concluding postscript contains remembrances by his colleagues and students. This volume not only makes explicit the question of what it means to be human, a question Robinson invited students and colleagues to examine throughout his career, but it also illustrates the depth of the field and diversity of those who have been inspired by Robinson's work. Frankenstein and STEAM offers direction for continuing scholarship on the intersections of literature, science, and technology. Published by the University of Delaware Press. Distributed worldwide by Rutgers University Press.
MacBeth (Illustrated) for Kids by William Shakespeare Pdf
This edition features ten, unique illustrations throughout and has been adapted for kids to read easily. The wife of a Scottish lord persuades him to murder the King for his crown with dire consequences. Shakespeare's classic play has delighted readers and film fans for many years. This version of the story has been specially adapted for kids from nine to twelve years old. The language and vocabulary are simple, and emphasis is on action using past, present and future simple tenses. Punctuation meets UK or USA ESL/CEFR/IELTS Level B2 in most cases, although there are some 17th Century features of the text which do not comply and have been left intact to preserve the charm of Shakespeare's text. The vocabulary in this book is harder than for The Mysterious Affair at Styles and The Secret Adversary. You should try those books first if you are not familiar with words like the following: disdaining, undaunted, distillation, refrain, slaughtered. Lazlo Ferran is a fully qualified English teacher and teaches in London. He has also published more than twenty novels, making him the ideal choice to adapt Shakespeare's stories for children. Vocabulary Stretcher and UK or USA ESL/CEFR Level B2 editions are also available. eBook edition also available on Amazon. Classics Adapted by a Qualified Teacher: Lazlo Ferran Categories: warlock, children's fiction, Ages 9-12, UK Key Stage 1, UK Key Stage 2, Grade 4, Grade 5, Grade 6, Grade 7, preteen, magic, Shakespeare, thriller, fun, crime, 17th Century, Macbeth, witch, teaching materials, punctuation, horror, Scotland, action historical
Adaptation Before Cinema by Lissette Lopez Szwydky,Glenn Jellenik Pdf
Adaptation Before Cinema highlights a range of pre-cinematic media forms, including theater, novelization, painting and illustration, transmedia art, children’s media, and other literary and visual culture. The book expands the primary scholarly audience of adaptation studies from film and media scholars to literary scholars and cultural critics working across a range of historical periods, genres, forms, and media. In doing so, it underscores the creative diversity of cultural adaptation practiced before cinema came to dominate the critical conversation on adaptation. Collectively, the chapters construct critical bridges between literary history and contemporary media studies, foregrounding diverse practices of adaptation and providing a platform for innovative critical approaches to adaptation, appropriation, or transmedia storytelling popular from the Middle Ages through the invention of cinema. At the same time, they illustrate how these forms of adaptation not only influenced the cinematic adaptation industry of the twentieth century but also continue to inform adaptation practices in the twenty-first century transmedia landscape. Written by scholars with expertise in historical, literary, and cultural scholarship ranging from the medieval period through the nineteenth century, the chapters use discourses developed in contemporary adaptation studies to shed new lights on their respective historical fields, authors, and art forms.
Author : Dorothy Louise Publisher : Ivan R. Dee Publisher Page : 100 pages File Size : 47,6 Mb Release : 2004 Category : Drama ISBN : UOM:39015058274989
Dorothy Louise's remarkable new adaptation of Mary Shelley's classic story rescues it from simplistic notions of horror and fear. She remains faithful to Shelley's intention to show how the Creature of Victor Frankenstein gradually grows into malignity because of the continual rejection he experiences and the refusal of his creator to respond to his very human needs. Amateur and professional companies will find this to be the most successful Frankenstein ever adapted for the stage.
Penny Dreadful and Adaptation by Julie Grossman,Will Scheibel Pdf
This edited collection is the first book-length critical study of the Showtime-Sky Atlantic television series Penny Dreadful (2014-2016), which also includes an analysis of Showtime’s 2020 spin-off City of Angels. Chapters examine the status of the series as a work of twenty-first-century cable television, contemporary Gothic-horror, and intermedial adaptation, spanning sources as diverse as eighteenth and nineteenth-century British fiction and poetry, American dime novels, theatrical performance, Hollywood movies, and fan practices. Featuring iconic monsters such as Dr. Frankenstein and his Creature, the “bride” of Frankenstein, Dracula, the werewolf, Dorian Gray, and Dr. Jekyll, Penny Dreadful is a mash-up of familiar texts and new Gothic figures such as spiritualist Vanessa Ives, played by the magnetic Eva Green. As a recent example of adapting multiple sources in different media, Penny Dreadful has as much to say about the Romantic and Victorian eras as it does about our present-day fascination with screen monsters. Hear the authors talk about the collection here: https://nrftsjournal.org/monsters-all-are-we-not-an-interview-with-julie-grossman-and-will-scheibel/