Adapting Frankenstein

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.

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.

Sixteen original essays by leading scholars on Mary Shelley's novel provide an introduction to Frankenstein and its various critical contexts.

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

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.

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.

Obsessed with natural philosophy, the young Victor Frankenstein succeeds in creating life from its basic elements - and abandons the newborn monstrosity in terror when he cannot bear to look at it. The rejected creature vanishes, and Victor attempts to forget what he has done... But the monster survives. It learns. Deprived of everything, fated to forever be alone, it has nothing left but revenge. Manga Classics? presents a frightening new manga adaptation of Mary Shelly's famous tale of creation and destruction!