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Adaptive symbiosis and Peake’s Presumption, or the fate of Frankenstein
Glenn Jellenik

of ‘all kinds of [perceived] political monstrosity’ (Armitage 224). And we can add adaptation theory to the metaphoric cultural possibilities of the Frankenstein trope. This chapter argues for the productivity of what I call a Frankensteinian model for adaptation studies, which attempts to systematically trace and account for the work of intertextuality in the act of adaptation. The Frankensteinian model, or ‘Not things learned so much as things remembered’ In imagining Frankenstein as a model for adaptation, we

in Adapting Frankenstein
Kate Newell

M ARY S HELLEY ’ S F RANKENSTEIN (1818) occupies a rare position in our cultural memory: most of us ‘know’ it regardless of whether or not we have read it. This circumstance owes much to James Whale’s 1931 film adaptation, which is often credited with establishing the definitive visual lexicon for Frankenstein . 1 Of course, Whale’s is not the first visual adaption of the novel. Prior to 1931, Shelley’s novel was adapted numerous times for the stage – e.g., Richard Brinsley Peake’s Presumption (1823) and

in Adapting Frankenstein
Interpreting ‘patented’ aids to the deaf in Victorian Britain
Graeme Gooday and Karen Sayer

27 1 PURCHASE, USE AND ADAPTATION: INTERPRETING ‘PATENTED’ AIDS TO THE DEAF IN VICTORIAN BRITAIN Graeme Gooday and Karen Sayer Whether there was ever as much reluctance to acknowledge defective sight as there now is defective hearing, whether the mention of spectacles was ever as hateful as that of a trumpet, I do not know; but I was full as much grieved as amused lately at what was said to me in a shop where I went to try a new kind of trumpet: I assure you. ‘Ma’am,’ said the shopkeeper, ‘I dread to see a deaf person come into my shop. They all expect me to

in Rethinking modern prostheses in Anglo-American commodity cultures, 1820–1939
Paul Latawski and Martin A. Smith

Since the end of the Cold War, NATO has been significantly reoriented and retooled across the board. This process of change has been captured under two main labels. Internal adaptation is NATO-speak for looking at how the institution works, and whether it can be made to work better and more effectively. The process has embraced the possibility of creating procedures and structures whereby European member

in The Kosovo crisis and the evolution of post-Cold War European security
Hyangjin Lee

North Korea: Yu Wŏnjun and Yun Ryonggyu’s The Tale of Ch’unhyang (1980) and Shin Sangok’s musical, Love, Love, My Love (1985). Although using the same story, these films interpret the morals of the well-known narrative differently, and their differences are most lucidly discernible in their treatments of the issues related to gender and class. The film adaptations of Ch’unhyangjŏn divulge the

in Contemporary Korean cinema
Black Feet in the Snow (BBC, 1974)
Sally Shaw

Power movement, its visceral depiction of racial discrimination and its critique of Britain’s colonial past. However, the stage play’s radicalism also extended to its form—an innovative mix of Caribbean orature and Brechtian elements. Two years after its first stage performance, Black Feet in the Snow was filmed for BBC2’s Open Door community strand in 1974. The television adaptation was unusual

in Screen plays
Michael Eberle-Sinatra

Movies speak mainly to the eyes. Though they started talking in words some seventy years ago, what they say to our ears seldom overpowers or even matches the impact of what they show us. This essay proposes to read one more time the issue of homosexuality in Mary Shelley‘s first novel, Frankenstein. In order to offer a new angle on the homosexual component of Victor Frankenstein‘s relationship with his creature when next teaching this most canonical Romantic novel, this essay considers Shelley‘s work alongside four film adaptations: James Whale‘s 1931 Frankenstein, Whale‘s 1935 The Bride of Frankenstein, Richard O’Briens 1975 The Rocky Horror Picture Show, and Kenneth Branagh‘s 1994 Mary Shelley‘s Frankenstein. These films present their audience with original readings of their source material, readings that can be questioned with regards to their lack of truthfulness to the original works themes and characters.

Gothic Studies
Forbidden Planet, Frankenstein, and the atomic age
Dennis R. Perry

F ORBIDDEN P LANET (W ILCOX 1956), MGM’s big-budget entry into the 1950s ‘golden age’ of cinema science fiction, has long been considered the best science-fiction film from the decade, only surpassed by Kubrick’s 2001: A Space Odyssey some twelve years later. Beyond its spectacular special effects and memorable robot, Robby, Forbidden Planet ’s story has had the added prestige of being considered a thoughtful adaptation of Shakespeare’s The Tempest , with Morbius as Prospero, Robby as Ariel, Altaira as Miranda, Commander Adams as

in Adapting Frankenstein
Kelly Jones

T WO PRODUCTIONS OF STAGE adaptations of Mary Shelley’s Frankenstein emerged in the UK in the spring of 2011, both of which made explicit reference to their liveness in performance. The National Theatre in London production was based upon Nick Dear’s stage adaptation of the novel and was directed by celebrated filmmaker, Danny Boyle. It featured acclaimed popular television and film actors Benedict Cumberbatch and Jonny Lee Miller. As part of its theatrical run, the production was commissioned, on a couple of occasions, to be

in Adapting Frankenstein
Mervyn O’Driscoll

128 6 Germany, Lemass and foreign policy adaptation From a narrow perspective, Dublin’s EEC application in July 1961 became an unavoidable necessity when Harold Macmillan decided to launch a British bid. It followed at least two years of anxious discussion and reflection in Irish government circles about the country’s economic isolation and vulnerable position. The realisation had intensified that the country needed to join a benevolent multilateral trading block. The EEC held particular appeal in the field of agriculture, though no firm decision could be

in Ireland, West Germany and the New Europe, 1949– 73