Abolishment In Frankenstein

Abolishment In Frankenstein

Despite how extravagantly different the creation scene is in Shelley's novel compared to what is presented on screen, there is little to say on the subject. As already mentioned in the introduction, the tradition of exuberant, showy creation scenes didn't begin with the 'original' \textit{Frankenstein} (1931), but with the 1910 edition, where it lends half of its runtime to the conjuration of the monster. Each iteration of Frankenstein thereafter copies this extravagant method of portraying the creation scene, and as they do so, knowledge of Shelley's minimal description is lost. First, we must explore why her version of events isn't inclusive of the embellishment and indulgence on screen.

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In Shelley's text, the scene consists of a few ... Show more content on Helpwriting.net ...Yet he acknowledges that this moment is not one to celebrate, and thus compensates for this using other methods, turning the showy scene from a contradiction to a juxtaposition that emphasises the monstrosity of not only the monster, but Victor's actions in creating it: 'First, the monster lunges from a great copper sarcophagus filled with water to make it a kind of womb. After he lands sprawling in the spill tank under it, Victor lifts him up, vainly tries to show him how to walk, then ties him standing to a set of chains. But when the struggling creature is struck by a falling piece of wood and shortly goes limp, Victor concludes that he himself has killed this luckless heir to "massive birth defects." and that "this evil must be destroyed...forever." \footcite{James Heffernan, 'Looking at the Monster: 'Frankenstein' and Film' pp.143} This departure from the novel highlights Victor as a more paternal figure than the text implies, making a point of the undercurrent of dread the scene should evoke, yet contrivedly conveying Victor's repulsion at the creature – in this scene, Victor is less repulsed by the creature, as Shelley's text strongly emphasises, but more toward his own actions. It is only when Victor wakes up to the sight of the lumbering creature in the next scene does he cry out "No!". This decision creates a confusing tone where it could initially be misconstrued by the audience that Branagh's Victor is merely startled by the presence of a monster he had presumed dead, muddling up the message of Victor's regret and of the repercussions of rebirth that Shelley intends on

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