The Frankenstein Complex: when the text is more than a text
Dennis R. Cutchins and Dennis R. Perry
A DAPTING F RANKENSTEIN APPROACHES THE seemingly endless adaptations, appropriations and re-appropriations, the prolific progeny of Mary Shelley’s Frankenstein or the Modern Prometheus , as inextricably intertextual pieces of popular culture. Arguably, Frankenstein 1 has a greater presence in popular media than any other single narrative over nearly two centuries, 2 only growing more extant and cogent as the popular culture machine begins to ever more resemble the patchwork monster which Shelley’s precocious student created. In the
To what extent did Europeanisation contribute to Ireland's transformation from ‘poor relation’ to being admired and emulated? This book examines how Europeanisation affected Irish policy-making and implementation and how Ireland maximised the policy opportunities arising from membership of the EU while preserving embedded patterns of political behaviour. The book focuses on the complex interplay of European, domestic and global factors as the explanation for the changing character of the ‘Celtic Tiger’. It contests and complements previous accounts of the Europeanisation effect on Ireland's institutions and policies, providing an analysis in view of Ireland's rejection of the Lisbon Treaty in June 2008. The book demonstrates that, although Europeanisation spurred significant institutional and policy change, domestic forces filtered those consequences while global factors induced further adaptation. By identifying and assessing the adaptational pressures in a range of policy areas, the book establishes that, in tandem with the European dimension, domestic features and global developments were key determinants of change and harbingers of new patterns of governance. In challenging the usually unquestioning acceptance of the EU's dominant role in Ireland's transformation, the study adds conceptually and empirically to the literature on Europeanisation. The review of change in discourse, policy paradigms and procedures is complemented by an exploration of change in the economy, regional development, agricultural and rural policy, environmental policy and foreign policy. This analysis provides clear evidence of the uneven impact of Europeanisation, and the salience of domestic and global mediating factors.
Theatre plays written by Samuel
Beckett that have been adapted for television need to be understood in
the historical contexts of their production and broadcast. While they
can be situated as adaptations of theatre plays, the significance of the
adaptation in each case is determined by the changing relationships to
original television plays, to conceptions of television authorship, to
Thomas Edison’s Frankenstein and John Barrymore’s Dr Jekyll and Mr Hyde
Richard J. Hand
Two great works of fiction at
opposite ends of the nineteenth century continue to be paradigms of
horror with the concept of ‘adaptation’ at their heart: Mary
Shelley’s Frankenstein, or the Modern Prometheus ( 1818 ) and Robert Louis
Stevenson’s The Strange Case of Dr Jekyll and Mr Hyde
(1886). Both present mad scientists who experiment with adaptation in
the sense of
Romeo as a love-struck zombie, Hamlet as a cowboy riding off into the sunset, Katherine the Shrew leading Her Majesty’s Opposition and King Lear heading a dynasty of circus acrobats – you name it, we have it! By the twenty-first century, one can hardly think of popular genre themes or settings that have not been tried and tested in screen adaptations of Shakespearean drama. The other side of the coin is equally remarkable: it is not simply adaptors of Shakespeare who rely on popular visual formats, but creators of popular visual culture also mine his work for
This is a comprehensive critical study of Anthony Asquith. The author sets the director's work in the context of British cinema from the silent period to the 1960s, and examines the artistic and cultural influences within which his films can be understood. Asquith's silent films were compared favourably to those of his eminent contemporary Alfred Hitchcock, but his career faltered during the 1930s. However, the success of Pygmalion (1938) and French Without Tears (1939), based on plays by George Bernard Shaw and Terence Rattigan respectively, together with his significant contributions to wartime British cinema, re-established him as one of Britain's leading film makers. Asquith's post-war career includes several pictures in collaboration with Rattigan, and the definitive adaptation of Oscar Wilde's The Importance of Being Earnest (1951), but his versatility is demonstrated effectively in a number of modest genre films including The Woman in Question (1950), The Young Lovers (1954) and Orders to Kill (1958).
West Germany played a pivotal role in encouraging the Republic of Ireland's adaptation to a 'European' path. This book contends that Ireland recognised that the post- war German economic miracle offered trade openings. It analyses approximately 25 years of Irish-West German affairs, allowing a measured examination of the fluctuating relationship, and terminates in 1973, when Ireland joined the European Communities (EC). The general historical literature on Ireland's post- war foreign relations is developing but it tends to be heavily European Economic Community (EEC), United Nations (UN) or Northern Ireland centred. The Federal Republic of Germany (FRG) is a worthy candidate for such a study as it was Ireland's key trading partner in continental Western Europe. Germany acted as a dynamic force in Ireland's modernisation from the mid- 1950s. Ireland wanted 'to ride the wave of the future', and the challenge was to adapt. This study of Irish- West German relations offers up a prism through which to reinterpret the shifts in Ireland's international reorientation and adaptation between 1949 and 1973. Like any relationship, even a relatively amicable one, the Irish- West German one was prone to strains. Bitter trade disputes beset Irish- German relations throughout the 1950s. The book sheds new light on post- war Ireland's shift from an Anglo- Irish focus to a wider European one. It also discusses land wars, Nazism, the Anglo- Irish Trade Agreement of 1938, the establishment of a 'new Europe' and Lemass's refurbishment of the Irish development model.
Representing the supernatural in film adaptations of A Midsummer
A Midsummer Night’s Dream is one of the most often-performed Shakespeare plays, and one of his most popular comedies.
It is also a favourite of film directors, with a number of adaptations made since its first known appearance on the silver screen in 1909.
The play's popularity is due in no small part to the supernatural elements in the play, and more particularly the supernatural beings that populate it – the
This book is concerned above all with the adaptation of national EU policy-making processes to the demands and opportunities of EU membership. As such the study lends itself to the burgeoning ‘Europeanisation’ literature which refocuses the attention of European studies downwards to the domestic level. Rather than provide an exhaustive review of this literature, this chapter explores the conceptual challenge posed by Europeanisation for our study. How does the current literature relate to the Europeanisation of national policy
Women, domesticity and the female Gothic adaptation on television
television fictions. Aside from a wealth of critical literature on the woman’s film and the interconnections between genre and the female viewer, there is also, for example, a long history of novel and short-story writing for and about women (and its associated scholarship), the ‘female Gothic’, the topic of this essay, being just one among many of these literary genres. It is hoped that this study of adaptations of popular female Gothic fictions on television will illuminate a sense of both continuity and progression between modes of readership and viewership for women of