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Pat Jackson’s White Corridors
Charles Barr

sexuality is released in the Dracula films at the end of the decade, so the repressed spirit of scientific enquiry finds its way into the figure of Dr Frankenstein. 9 For a fuller discussion of this actor and of the values he represents, see my essay ‘Madness, Madness: The Brief Stardom of James Donald’, in Bruce Babington (ed

in British cinema of the 1950s
Open Access (free)
Film festivals and the revival of Classic Hollywood
Julian Stringer

preservationist concerns. To give just one example, the Universal horror classics Frankenstein (1931) and The Mummy (1932) were revived at the Puchon International Fantastic Film Festival, South Korea, in 2001, within the context of a desire to explore knowledge around this particular genre. 18 To be sure, there was a ‘reason’, a justification, for such revivals – the appearance of

in Memory and popular film
‘Postcolonial’ as periodizer
Andrew Sartori

proposed. It was ‘the postcolonial reader’ who found ‘satisfying’ the ways in which Mary Shelley’s Frankenstein subtly exceeded imperialist frames; 9 and it was the ‘situation of the post-colonial critic of imperialism’ that rendered visible the limitations of Dominick LaCapra’s approach to historical reading. 10 It is nonetheless striking that, in her 1988 introduction to Selected Subaltern Studies (a text that would ultimately play no small part in consolidating the relationship between the subaltern and

in Post-everything
ELIZA the more than mechanical therapist
Caroline Bassett

in fiction, from Frankenstein (and his parent) on. To break with Weizenbaum I have, rather than excoriating ELIZA as an unintentionally proffered accelerant for accelerationism/machine rationality whose influence came from her attributed capacities rather than anything substantial, reconsidered what ELIZA did – and specifically what ELIZA did as a therapist. An afterword Plug & Play , a documentary directed by Jens Schanze, made many years after the ELIZA events, intercuts

in Anti-computing
Open Access (free)
Christopher Morgan

within a larger, more powerful dimension.3 This is a key point in Thomas’s position on applied science. What he calls ‘the machine’ becomes not applied science per se but a system of values according to which the en masse production, possession, and use of technology outweigh every other consideration. It is this rampant decontextualisation of applied science which Thomas views as harmful, its increasingly unbridled independence by which it becomes a kind of Frankenstein’s monster, a changeling, achieving not only a life and a will of its own but its virtual

in R. S. Thomas
Gob Squad, a funny robot and dancing scientists
Simon Parry

about AI and robotics. In performance, these were reconfigured through repetition and metonym. This is a clear departure from dominant cultural modes of engendering affect through (robotics) science in performance such as the enduring Frankenstein tropes that express and drive a fear of runaway science and technology or attempts to articulate a more hopeful vision within the marketing cultures of technology multinationals and some documentaries. It also diverges as a practice from some utopian scenarios within experimental arts and science practices from Ars

in Science in performance
Dystopian performatives and vertigo aesthetics in popular theatre
Simon Parry

multinational airline and by the present (of the play) has become an embittered fatalist.13 Robert is neither a Frankenstein directly responsible for the planet’s doom, nor a heroic figure that has not been listened to. He is rather a deeply flawed cynic whose views, that the tipping point has passed and that the earth will long outlive humans whatever damage has been done, appear to echo those of the iconoclastic James Lovelock (Bottoms 2012). He coldly advises his pregnant daughter Freya not to have her baby. This sense of doom-laden inevitability and disempowerment is

in Science in performance
Future Earth, co-production and the experimental life of a global institution
Eleanor Hadley Kershaw

) is replete with monsters. From Haraway’s cyborg (1991) to Latour’s appeal for us to love and care for our technologies rather than abandon them as Frankenstein did his creation (Latour, 2011), the central preoccupations of this field concern the (blurred) categories of and relations between nature; culture; the human, non-human or more-than-human; the scientific; technological; social; material; epistemic and the political: the construction, maintenance and disturbance of our ‘natural’ and ‘social’ orders and kinds. Whether leviathan in the sense of biblical sea

in Science and the politics of openness
Open Access (free)
Towards a contemporary aesthetic
Jonathan Dollimore

injunction has been regarded as profoundly liberatory, albeit with tragic consequences, though sometimes also with revolutionary ones. Straddling that opposition are some of the great trangressive figures of myth and literature including Eve, Prometheus, Faust/us, Mary Shelley’s Frankenstein, Flaubert’s Madame Bovary, Thomas Mann’s Aschenbach and Joseph 48 Positions Conrad’s Kurtz. Others, like Robert Louis Stevensons’s Jekyll/Hyde, embody the realisation that knowledge of evil is more intimate with genius than with barbarism, while those like Shakespeare’s Macbeth

in The new aestheticism
T.S. Eliot and Gothic hauntings in Waugh’s A Handful of Dust and Barnes’s Nightwood
Avril Horner
and
Sue Zlosnik

of certain authors and certain Modernist texts produced a narrative which, while recognising a high level of intertextuality and cosmopolitan interchange, failed to include women writers and the influence of popular culture. At this time, Modernist written texts seemed to be eschewing the melodramatic and Unreal cities and undead legacies 225 the supernatural. The Gothic, a sensationalist and popular form, therefore appeared to have found its ‘proper’ home in the popular realm of film (as in, for example, Murnau’s Nosferatu (1922), James Whale’s Frankenstein (1931

in Special relationships