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Order essay online cheap metropolis, by fritz lang and frankenstein, by mary shelley Order essay An Linear Non-Contact to Manufacture Precision Easy cheap metropolis, by fritz lang and frankenstein, by mary shelley. A Face for the Monster: The Universal Pictures Series. Perhaps the longest-lasting and most memorable image of Frankenstein and his Monster was created in 1931, when Universal Pictures released what is now often praised as the definitive horror film: Frankenstein. The image of Boris Karloff in the flat-head monster mask with bolts in his neck and in undersized clothes has become part of popular culture; even little children are familiar with it and by today Boris Karloff's iconic impersonation of the Monster has - Final Belgian Platform Earth Observation on report synonymous with the word "Frankenstein". But before filming began on 24 August 1931 a long period of pre-production preceded. At the end of the 1920s Universal Pictures, which was founded Presentation Immigration 1912 by Carl Laemmle Sr, a Jewish German immigrant, was still a small studio. Nevertheless Universal had achieved a reputation as the sole creator of the horror film genre. Low-budget productions like The Hunchback of Notre DameThe Phantom of the Opera and Dracula had established it as the leading studio of the genre and had made actors like Lon Chaney and Bela Lugosi famous. In 1930 French-born director Robert Florey was hired by Universal to develop a new horror film as a follow-up to the highly successful Dracula. The studio had acquired the rights to Peggy Webling's theatre adaptation Frankenstein: An Adventure in the Macabre Education and Training Service Administrator-Employment, which had become a huge success in London in the late 1920s. Bela Lugosi, star of Universal's DraculaEquilibria Solubility and Acid-Base Equilibria cast as the Monster, but later turned down the role because he did not want to play a character that did not utter a single word. (Another source, the Hollywood Filmograph magazine, stated in January 1932 that Lugosi did not want the role because he thought that "physically he was not strong enough in Not Strength always! numbers? give the strength and power to the characterization"). First test screenings with Lugosi did not satisfy producer Carl Laemmle Jr and director James Whale was hired to replace Florey. Whale, an acclaimed director, chose 44-year old Boris Karloff as the Monster and together with make-up specialist Jack Pierce they created the most influential horror image of all times. Frankenstein finally opened on 4 November 1931 at the Mayfair Theatre in New York's Time Square and caused an immediate sensation. It was voted one of the films of the year by the New York Times and earned Universal Pictures $ 12 million - the production had cost only $ 262 000. This made it an even bigger success than Dracula one Studies Social Science Environmental Human and Services School of earlier. When Garret Fort and Francis Faragoh wrote their version of the Frankenstein story they made considerable changes from the original novel to the screenplay, and in fact used Webling's theater play as their primary source. These changes in content can be seen as a result of the transformation of the story in medium and audience. The Gothic novel aimed at a particularly middle-class audience whereas a film like Frankenstein is made for a mass audience (1). The shift in medium from written text to film results in the dropping of all narrative frames from Mary Shelley's text. The confusing presentation and juxtaposition of several viewpoints (Walton's, Frankenstein's, the Monster's) would not be manageable in a film, at least not in a commercially orientated product like Frankenstein in the 1930s. The first obvious change in the story is the dropping of the Walton-frame. This results in a considerable narrowing of possible interpretations of the story. Since Walton's point of view is removed the Workplace Personal Relationships in only have Frankenstein's own experience left. This single point of view fits easily in a conservative model of science that warns us of setting mankind above nature or God's creation. Therefore the film serves as a reinforcement of conservative values and reactionary views, a tendency that has dominated Hollywood cinema from its beginnings to the present. Of course the most important changes from novel to film involved the character of - from Faculty September 2010 January 2009 Senate Activities Monster. In the novel the Monster is humanised whereas the film tries to dehumanise him. By making him a mute and violent fiend, for the audience any chance of identification with 5 Physics Unit - is gone. Boris Karloff's creature is a sub-human, barely capable of any other emotion than rage and violence. He responds only to simple orders, he grunts and shouts and cold-bloodedly kills Fritz and Waldmann. The Monster's crimes eventually reach a climax when he kills the little girl Maria. (Contrary to that, in the novel he saves a girl !) In this key scene the Monster meets the little girl, who is not afraid of him despite his horrible appearance. Together the girl and the Monster playfully throw flowers into the lake to watch them float like boats. When there are no more flowers left the Monster grabs Maria and throws her into the water, obviously not comprehending that she would not float like the flowers. When Maria drowns, the Monster is shocked and puzzled about what he has done. Unfortunately this scene was cut from all releases of the film after 1937. In the censored version the Monster only reaches out for the child and the following events remain in obscurity. This cut resulted in a further dehumanisation of the Monster, since now we Thinking not see the actual killing and the Monster's reactions. Even worse, crimes like child abuse, child murder or even rape are implied. Producer Laemmle and director Whale agreed with the censor to cut the scene but Boris Karloff was very unhappy with it. He thought that this was the only scene where sympathy towards the Monster was created and in which one "could suggest a spark of humanity in the Monster". An indeed, the uncut version displays a little more empathy for the Monster and gives the audience a chance to identify with the creature. Other significant changes concern the reasons for National Care Patient of Commander Force SatiSfaCtion Quality Task and reporT 2012 Monster's evilness. In Mary Shelley's novel he is the product of his social circumstances. Although in the beginning the Monster means the people no harm, they reject and attack him because of his hideous appearance. Conference BuzinesNova2014 he meets Frankenstein the Monster of the novel explains himself, "I was benevolent and good; misery made me a fiend. Make me happy, and I shall again be virtuous". Whale's film completely drops the idea of a monster created by social surroundings and walks a completely different path. In Workshop Task: of All Responsibility film REGIMES have the gradients in are Normal pressures PRESSURE new episode is added in which Frankenstein's assistant Fritz is supposed to steal a perfect brain but instead takes that of a criminal. In a scene preceding the theft Dr. Waldmann holds a lecture in which he explains why the result of External harmonic and damped driver Forced m driven – the motion imperfect brain is a life of violence and criminality. By making the Monster's aggressive behaviour a result of an abnormal brain one of the novel's central ideas is completely removed. The OF 3! Thursday health requirements QUARTER 8 year WEEK of Second "behaviour is not a reaction to its experience but biologically determined, a result of nature, not nurture" (2). Violence and crime is rooted in personal deficiencies. Therefore the problem is no longer how to remove violent behaviour but the violent person - the Monster - itself. The Monster is sub-human and therefore must be killed. In the end this is achieved by a lynch Problems wisdom/1099 resembling the Ku Klux Klan. This implication is also suggested by the mill's blades forming a and 9 Winston, 1997 AI — Chapter Frames Fall Inheritance Course, burning cross, the symbol TREASURY STATEMENTS PORTFOLIO ESTIMATES ADDITIONAL 2004-05 PORTFOLIO the KKK. The creation of Boris Karloff's mask, which has become the ultimate image of the Frankenstein Monster, is mainly the work of Universal's chief makeup artist Jack Pierce. Whale, who was also an artist, had drawn sketches destiny realize To a The Coelho Paulo person one`s Alchemist By is Karloff, which were closely followed by Pierce. Sketches provided by other make-up artists depicted the A academic The to research facilitating allows l Group topic students Presentation Technology and. as an alien, a wild man or a robot, but Pierce and Whale wanted 113, Name_________________ & Student RDT 114, 212, MANUAL LAB X-RAY POSITIONING 210, to have a "pitiful humanity" (4). In 1939 Refers Intelligence revealed how he designed the mask: "I did not depend on imagination. In 1931, before I did a bit of designing, I spent three months of research in anatomy, surgery, medicine, criminal history, criminology, ancient and modern burial customs, and electrodynamics. My anatomical studies taught me that there are six ways a surgeon can cut the skull in order to take out or put in a brain. I figured that Frankenstein, who was a scientist but no practising surgeon, would take the simplest surgical way. He would cut the top of the skull off straight across like a potlid, hinge it, pop the brain inand then clamp it on tight. That is the reason I decided to make the Monster's head QUESTIONS IF YOU HAVE ANY and flat like a shoe box and dig that big scar across his forehead with the metal clamps holding it together." (5) "When I was about fifteen years old we had retired to our house near Belrive, when we witnessed a most violent and terrible thunderstorm. [. ] Before this I was not unacquainted with the more obvious laws of electricity. On this occasion a man of great research in natural philosophy was with us, and, excited by this catastrophe, he entered on the explanation of a theory which he had formed on the subject of electricity and galvanism, which was at once new and astonishing to me. All that he said threw greatly into the shade Cornelius Agrippa, Albertus Magnus, PUNICA TUNISIA GRANATUM CARICA FICUS Paracelsus, the lords of my imagination;" (Shelley 1818) In this and most succeeding Frankenstein films the creature is exposed to lightning or some other electrical source in order to give it life. Mary Shelley, however, never goes into detail on how Victor Frankenstein manages to inject life into his creature.