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Kako je gotika prevzela Frankensteina
ID Vah, Viviana Lara (Author), ID Blake, Jason Frederick (Mentor) More about this mentor... This link opens in a new window

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Abstract
Magistrsko delo obravnava gotske elemente dela Frankenstein pisateljice Mary Shelley in kako so bili adaptirani v filmski obliki. Bistvo dela so analize filmskih priredb knjige, da bi ugotovili, ali so bili gotski elementi poudarjeni ali dodani prvotni zgodbi. Specifični filmi, ki sem jih izbrala za analize, so: Frankenstein Jamesa Searleja Dawleyja (1910), Frankenstein Jamesa Whalea (1931), The Curse of Frankenstein Terencea Fisherja (1957), Frankenstein: The True Story Jacka Smighta (1973) in Mary Shelley's Frankenstein Kennetha Branagha (1994). Magistrsko delo obravnava tudi gotski žanr v literaturi v primerjavi z gotskimi filmi in kako razlike med mediji vplivajo na adaptacije. Namen je ugotoviti, ali Shelleyjino delo sčasoma postaja bolj gotsko v kinu ter če so ostali elementi zgodbe, kot so tisti iz znanstvene fantastike, pozabljeni. Teme morale, okultizma, veličastne narave in uporabe učinka nenavadne doline (uncanny valley effect) so prav tako analizirane, saj so pomembne v Shelleyjinem romanu. Za izčrpen pregled filmov delo najprej analizira dva glavna junaka: Victorja Frankensteina in njegovo Pošast. Za temeljitejše preiskave je v tem delu uporabljena knjiga Theory of Adaptation (Teorija priredb) Linde Hutcheon ter drugi eseji in teoretska dela, ki temeljijo na Frankensteinu, na primer Narcissism as Symptom and Structure: The Case of Mary Shelley’s Frankenstein (Narcisizem kot simptom in struktura: primer Mary Shellyjinega Frankensteina) Josepha Kestnerja.

Language:Slovenian
Keywords:Frankenstein, Mary Shelley, Gotika, Gotski film, priredba
Work type:Master's thesis/paper
Organization:FF - Faculty of Arts
Year:2021
PID:20.500.12556/RUL-125997 This link opens in a new window
Publication date in RUL:11.04.2021
Views:1238
Downloads:92
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Secondary language

Language:English
Title:How the Gothic Took Over Frankenstein
Abstract:
This Master’s thesis looks into the Gothic elements of Mary Shelley’s Frankenstein and how they have been adapted into film form. The essence of the thesis lies in the examinations of the adaptations in order to find out whether or not the Gothic elements were amplified from or added to the original story. The specific films I have chosen for the analyses are: James Searle Dawley’s Frankenstein (1910), James Whale’s Frankenstein (1931), Terence Fisher’s The Curse of Frankenstein (1957), Jack Smight’s Frankenstein: The True Story (1973) and Kenneth Branagh’s Mary Shelley’s Frankenstein (1994). This thesis also looks into the Gothic genre in literature versus the genre in film and considers how differences in mediums affect the adaptations. The purpose is to see whether Shelley’s work is growing more Gothic over time in cinema and if other elements, such as science fiction ones, were left behind. The themes of morality, the occult, sublime nature and the use of the “uncanny valley” effect are also looked into as they are important in Shelley’s novel. For the purpose of analysing the films, the thesis first analyses the two main characters: Victor Frankenstein and the Monster. For more thorough examinations, this paper uses The Theory of Adaptation by Linda Hutcheon as well as other essays and theory works based on Frankenstein, such as Joseph Kestner’s Narcissism as Symptom and Structure: The Case of Mary Shelley’s Frankenstein.

Keywords:Frankenstein, Mary Shelley, Gothic, Gothic film, Adaptation

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