The Gothic imagination in American sound recordings of Frankenstein
in Adapting Frankenstein
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This chapter looks at three radio/sound adaptations of Frankenstein from different periods in history from 1952 to 2007. Building on the fact that sound is significant in the original novel, especially in the character of De Lacey and his relationship to the Creature, this essay looks at sound as a means of building up dramatic tension in the three dramas, as well as the directors’ use of silence. The essay looks at how the use of sound was not only dictated by the drama, but by the producers’ wishes. For the American radio adaptation of 1952, for instance, the producers demanded more sound as a way of establishing characters in the listeners’ minds, while the low-budget recording of 1970 was noticeable for its lack of sound (an attempt to reverse the prevailing trend in radio at that time).

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