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Frankenstein english literature analysis points
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Kenneth Branagh's Adaptation of Frankenstein for the Cinema
The story of 'Frankenstein' has been set in the Georgian period. The
story line can be cut briefly to a crazed scientist (Victor
Frankenstein) thinking he can 'play God'. He tries to bring a creation
to life and once succeeding he realises the terrible mistake he has
made and sets about trying to correct it - by murdering it. The
Monster sets out for revenge killing family members one by one, ending
with them both dying in ice covered mountains. Kenneth Branagh has
re-told this story from Mary Shelley's novel, Frankenstein. Branagh
has been very careful when creating this movie, and because of it, the
movie has said to be a movie that virtually matches the original
novel, creating the same types of atmospheres and adrenaline rush to
both the viewer and reader. Kenneth Branagh has directed a wide range
of movies, featuring Love's Labour's Lost (2000), Hamlet (1996), A
Midwinter's Tale (1996) and Much Ado About Nothing (1993). Branagh has
also made a name for himself acting, in movies like Harry Potter and
the Chamber of Secrets, How to Kill Your Neighbour's Dog, Rabbit-Proof
Fence, Galapagos, Chicken Run/The Road to El Dorado's and Love's
Labour's Lost. Branagh also played as Victor Frankenstein himself.
I think the movie has a predominant theme of life and death. This also
feels as though it has a Gothic horror theme to it, being dark and
drab through a large proportion of the movie, signifying death.
Alternatively the bright lights, dancing and happiness throughout a
smaller minority of the film may represent life, but looking at the
proportions death plays a larger part o...
... middle of paper ...
...cave, the
Monster clearly expressing his anger and revenge upon Victor.
I think when Shelley wrote the novel, the film was centred was more
around the interaction between people, for example Elizabeth and
Victor and Victor and Frankenstein. I think the re-make plays more
upon the reactions to the audience, although there is a lot of
interaction Branagh has focused more on making the storyline clear to
the audience, and building up fear within the viewer. Today, there is
a massive debate on the use of cloning and whether it is right or
wrong, and I think this is an example of what people might think would
happen if cloning became legal. Also their maybe fear among people
that, like the Monster, they are going to become better in everyway,
stronger, more intelligent and this is something humans dread -
competition.
First, Before the monster is created Victor says that he hopes this creation would bless him as his creator, and that the creature would be excellent nature and would be beautiful. After the creature is created Shelley creates sympathy for him by Victor’s description of him in a unique yet horrific way, “he’s ‘gigantic,” “deformed,” “yellow skin scarcely covered the work of muscles and arteries beneath” this makes the creature abhorrent to typical humans. When thinking of the descriptions together, Shelley has created a vivid, unnatural image of the monster in the mind’s eyes. The language Shelley uses is powerful and emotive “shall I create another like yourself, whose joints wickedness
In the film, symbolism was everywhere. In the beginning of the film, the pictures of the city were in black and white and dull shades, giving the city a gloomy look. The camera angles made the cars in the city appear tiny, and the buildings appear very large to symbolize how small everything was amongst the city. The interiors of the office buildings and the panic symbolized that there was no way out. The soundtrack of the film was symbolic to the tension of the film. The darkness of visual composition of the lighting in the film, symbolized the darkness of the human nature in the story.
Hollywood has managed to reeducate the world of the timeless and classic literature by altering the story to the point beyond recognition. Starting back with 1931 Frankenstein, where producers took a simple strategy and altered the theme of the story in a way they thought audiences would enjoy more. An ambitious man of science that tries to play a god by creating a man of his own vision. The sequel followed in 1935 named The Bride of Frankenstein, which took off even farther form the original novel by introducing audiences to the author Mary Shelly, and her husband Percy.
It is in the complex structure of the novel that Mary Shelley creates sympathy. We shift from Robert Walton to Victor Frankenstein to the monster and finally back to Walton. With each shift of perspective, the reader gains new information about both the facts of the story and the reliability of the narrator. Each perspective adds pieces of information that only they knows: Walton explains the circumstances of Victor’s last days, Victor explains his creation of the monster, the monster explains his turn to evil. This impact of the change of narration gives us a better understanding of each person, and we see that the monster is not such a monster at all.
In Frankenstein, Frankenstein was preoccupied with the idea of creating life from nothing. On page 50, he expressed his wonderment, “I succeeded in discovering the cause of generation and life; nay, more, I became myself capable of bestowing animation upon lifeless matter.” He had succeeded in understanding the reasons for which life functions but he placed more importance on the discovery that he could cause it on his own. The events that take place in the novel follow as the consequences of Frankenstein’s longing for validation of his own self-worth. That desire filled his mind to a point where it haunted him. Mary Shelley consistently sho...
Frankenstein is a horror movie that tells the story of Dr. Henry Frankenstein’s experiment. In search for the fame and glory of playing to be god, he reaches a point where he is able to revive dead people. In this version of Frankenstein’s monster we see a selfish and careless scientist that created a creature with his intelligence. The way the character is shown reflects how ambitious someone can be to reach to be known in the world. This movie makes the people who are watching to feel empathy on the poor creature. This poor creature that did not want to live in a life where everyone is going to hate him for having a horrible aspect and not following rules that he has no idea about.
Paradoxically, the creation does not result in progress but manages to destroy more than what it was made from, in turn, causing more conflict and damage. Whale’s cynical view towards the war was especially exposed in “Bride of Frankenstein” which was made three years after Hitler came into authority. The technology used within this film was beyond its time as was the gender reversal and concept of re-animation after death. This could symbolize the people’s resistance to evolve and improve. The community and people who make it such are also part of the symbolic battlefield that is Dr. Frankenstein’s laboratory. It is in this community of regression that the re-born creature is thrust into and immediately rejected. Similarly the returning wounded soldier is not taken in by the community; rather he is shunned and unwelcomed as if he has been de-humanized by the war. The people of the community do not see the soldier as “re-born”, they see him more as an abnormality that was supposed to die in the war. Although many in the community claimed they would rather see dead heroes happy in their afterlife they were often rejected when they returned home. This war that was referred to as “the war to end all wars” produced more hardship for populations. It was at this time that the re-birth from death of the creature undermined the meaning of death and obligation of those who had sacrificed all for their country. In the film “J’accuse” by Abel Gance the town folk flee from the “reborn” soldiers. They are not at all excited or grateful to see their deceased war heroes one last time. The villagers know that they have not shown appreciation for the soldiers sacrifices. They have been living petty civilian lives, taking advantage of soldiers’ bu...
Frankenstein Over Time Mary Shelley’s novel Frankenstein is impressive, entertaining, and fascinating, so it is no surprise there have been so many films and artworks influenced by her novel. Many of which have put their own spin to the horror novel, especially the character of the creature that remains one of the most recognized icons in horror fiction. However, there have been critics who argue modern versions and variations have lost the horror and passion that is an essential to the creature. The start of the Creature is bound to be one book. However, public impression of the Creature has changed severely since the publication of the original novel, leading to diverse styles and plot lines in its diverse film adaptations.
Frankenstein is a fictional story written by Mary Shelly. It was later adapted into a movie version directed by James Whales. There are more differences than similarities between the book and the movie. This is because, the movie is mainly based on the 1920’s play, other than the original Mary Shelly’s book Frankenstein. A text has to be altered in one way or the other while making a movie due to a number of obvious factors. A lot of details from the book were missing in the movie, but the changes made by Whales were effective as they made the movie interesting, and successful.
The most recent film which reflects the novel, was directed by Kenneth Branagh in 1994, Mary Shelley’s Frankenstein. The character remains one of most recognized icons in horror fiction today. Written almost 200 years ago about a man obsessed with creating artificial life continues to be a topic in the 21st century. Such as today’s controversy in stem cell research or human cloning which reflects the basic theme of Mary Shelley’s novel.
Most Americans have some idea of who Frankenstein is, as a result of the many Frankenstein movies. Contrary to popular belief Mary Shelley’s Frankenstein is a scientist, not a monster. The "monster" is not the inarticulate, rage-driven criminal depicted in the 1994 film version of the novel. Shelley’s original Frankenstein was misrepresented by this Kenneth branagh film, most likely to send a different message to the movie audience than Shelley’s novel shows to its readers. The conflicting messages of technologies deserve being dependent on its creator (address by Shelley) and poetic justice, or triumph over evil (showed by the movie) is best represented by the scene immediately preceding Frankenstein’s monster’s death.
In the book Frankenstein Virtue is found at the margins of society more often than at its center. If this is so, Victor Frankenstein's Monster is a real find! His creature is an isolate of great sensitivity, kindness, and insight. In reality the Monster was not a bad person. He is quite distress and asks Victor, "What was I? Of my creation I was absolutely ignorant: but I knew that I possessed no money, no friends, no kind of property.... Was I then a monster, a blot upon the earth from which all men fled, and whom all men disowned?" (Shelley 89). Finally the creature makes clear his great need: he is lonely, one of a kind, and unloved. He has learned the importance of position, family, and property. It also seems that the Monster was quite lonely and did not have any friends. He is unaccepted even by his own creator. No offence that the creature was ugly but it was not his fault because he did not created him. There are things to enjoy in the movie "Mary Shelley's Frankenstein", directed by the Kenneth Branagh. Branagh has used film techniques in such a way that it shows the sadness and loneliness of the monster. Yet the director interested in technical effects could highlight key ideas. For example, the excitement of opening in the frozen north, with one figure moving across the ice and receding into the distance while another suddenly appears hundreds of miles from land, could hold the attention of the audience. The relationship between isolated figures on a vast expanse of ice could serve as a poetic leit-motif in the film and retain a significant element of the novel. The cold and sterile elements assume greater meaning than a senselessly rampaging creature engulfed by fire. The monster wanted love from his creator and from the world. He did not have any friend in the world to share his sorrow. When the monster meets the blind father De Lacey, he realized his chance for friendship relied more on hearing than sight. The old man's blindness surely overcome human prejudice against physical ugliness, De Lacey commiserated with the Monster and graciously offered him help and friendship. But the reaction of the old man's sighted family upon seeing the Monster desperately clinging to their father deemed him a fiendish threat and the creature found himself drive out of the society of cottagers.
James Whale's Frankenstein is a VERY loose adaptation of Mary Shelley's 1818 novel. The spirit of the film is preserved in its most basic sense, but the vast majority of the story has been entirely left out, which is unfortunate. The monster, for example, who possesses tremendous intellect in the novel and who goes on an epic quest seeking acceptance into the world in which he was created, has been reduced to little more than a lumbering klutz whose communication is limited to unearthly shrieks and grunts. Boris Karloff was understandably branded with the performance after the film was released, because it was undeniably a spectacular performance, but the monster's character was severely diminished from the novel.
The actually story of Frankenstein begins with a background of the rescued man. He is originally from Geneva were his family lives, including the love of his life his adopted sister Elizabeth. This man is known as Victor Frankenstein, and we follow this man through his education. This is basically an explanation of how the idea of creating the living dead arose, with him reading books of people with the same ideas and going to school to learn that they are all wrong but to end up with a clearer view of the entire scheme of things. He then starts his work, which took two to complete, with the configurations of his idea, to the examination of the dead, to the opening of the eyes of his creations. This is where I expected the line; “it’s alive… ALIVE,” but no that was just in the movie.
For my final project of the novel unit, I chose the novel Frankenstein written by Mary Shelley and first published in 1818. Frankenstein is a tale about an ambitious young scientist who in his practice oversteps the boundaries of acceptable science and creates a monster which destroys everything Victor Frankenstein loved and held dear.