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A gothic horror story that imagines what happens to Frnkenstein's monster after the death of his creator, Victor. What becomes of a monster without its maker? At the end of Mary Shelley’s classic novel, the creator dies but his creation still lives, cursed to a life of isolation and hatred. Frankenstein’s Monster continues the creature’s story as he’s compelled to discover his humanity, to escape the ship captain who vowed to the dying Frankenstein to hunt him down—and to resist the woman who would destroy them all. This is a tale of passion, revenge, violence, and madness—and the desperate search for meaning in an often meaningless world.
For all the scholarship devoted to Mary Shelley's English novel Frankenstein, there has been surprisingly little attention paid to its role in American culture, and virtually none to its racial resonances in the United States. In Black Frankenstein, Elizabeth Young identifies and interprets the figure of a black American Frankenstein monster as it appears with surprising frequency throughout nineteenth- and twentieth-century U.S. culture, in fiction, film, essays, oratory, painting, and other media, and in works by both whites and African Americans. Black Frankenstein stories, Young argues, effect four kinds of racial critique: they humanize the slave; they explain, if not justify, black violence; they condemn the slaveowner; and they expose the instability of white power. The black Frankenstein's monster has served as a powerful metaphor for reinforcing racial hierarchy—and as an even more powerful metaphor for shaping anti-racist critique. Illuminating the power of parody and reappropriation, Black Frankenstein tells the story of a metaphor that continues to matter to literature, culture, aesthetics, and politics.
The first monster to appear in a movie was Frankenstein. Since then, Godzilla, King Kong, and others have taken over the screen, destroying cities and terrorizing crowds. These monsters continue to show up in movies, TV shows, video games, and books. Movie monsters often seem terrifying—but most of them don't mean to cause harm. Some monsters are even friendly! Friendly or frightening, grab some popcorn and learn all about your favorite movie monsters . . . if you dare!
Briefly discusses the origin of the Frankenstein legend and the portrayal of Dr. Frankenstein and his creation in films. Also presents a synopsis of the 1931 film starring Boris Karloff.
Marvel's creepiest characters put the "super" into supernatural in this titanic tome of terror! A veritable who's who of horror, this Omnibus collects the complete 1970s adventures of the Zombie, Brother Voodoo, the Living Mummy, It the Living Colossus, the Golem, Gabriel: Devil Hunter, the Scarecrow and Modred the Mystic - including hair-raising encounters with Werewolf by Night, Doctor Strange, the Hulk, the Thing, the Avengers and more! Read it if you dare! COLLECTING: STRANGE TALES (1951) 169-174, 176-177; SUPERNATURAL THRILLERS 5, 7-15; ASTONISHING TALES (1970) 21-24; DEAD OF NIGHT 11; MARVEL SPOTLIGHT (1971) 26; MARVEL CHILLERS 1-2; MARVEL TEAM-UP (1972) 24; WEREWOLF BY NIGHT (1972) 39-41; MARVEL TWO-INONE (1974) 11, 18, 33, 41, 95; DOCTOR STRANGE (1974) 48; INCREDIBLE HULK (1968) 244; FANTASTIC FOUR (1961) 222-223; AVENGERS (1963) 185-187; MATERIAL FROM ZOMBIE (1973) 1-10; HAUNT OF HORROR (1974) 2-5; MONSTERS UNLEASHED (1973) 11; BIZARRE ADVENTURES 33; MENACE 5; MOON KNIGHT (1980) 21; TALES OF SUSPENSE (1959) 14, 20; STRANGE TALES (1951) 74, 89
When the last descendant of the Frankenstein family loses her only son to a police shooting, she turns to science for her own justice...putting her on a crash course with her family's original monster and his quest to eliminate humanity. An intense, unflinching story exploring the legacies of love, loss, and vengeance placed firmly in the tense atmosphere and current events of the modern-day United States.
Parasites and perverts: an introduction to gothic monstrosity -- Making monsters: Mary Shelley's Frankenstein -- Gothic surface, gothic depth: the subject of secrecy in Stevenson and Wilde -- Technologies of monstrosity: Bram Stoker's Dracula -- Reading counterclockwise: paranoid gothic or gothic paranoia? -- Bodies that splatter: queers and chain saws -- Skinflick: posthuman genderin Jonathan Demme's The silence of the lambs -- Conclusion: serial killing.
A timely, provocative, necessary look at how identity politics has come to dominate college campuses and higher education in America at the expense of a more essential commitment to equality. Thirty years after the culture wars, identity politics is now the norm on college campuses-and it hasn't been an unalloyed good for our education system or the country. Though the civil rights movement, feminism, and gay pride led to profoundly positive social changes, William Egginton argues that our culture's increasingly narrow focus on individual rights puts us in a dangerous place. The goal of our education system, and particularly the liberal arts, was originally to strengthen community; but the exclusive focus on individualism has led to a new kind of intolerance, degrades our civic discourse, and fatally distracts progressive politics from its commitment to equality. Egginton argues that our colleges and universities have become exclusive, expensive clubs for the cultural and economic elite instead of a national, publicly funded project for the betterment of the country. Only a return to the goals of community, and the egalitarian values underlying a liberal arts education, can head off the further fracturing of the body politic and the splintering of the American mind. With lively, on-the-ground reporting and trenchant analysis, The Splintering of the American Mind is a powerful book that is guaranteed to be controversial within academia and beyond. At this critical juncture, the book challenges higher education and every American to reengage with our history and its contexts, and to imagine our nation in new and more inclusive ways.
Frankenstein is a novel by Mary Shelley. It was first published in 1818. Ever since its publication, the story of Frankenstein has remained brightly in the imagination of the readers and literary circles across the countries. In the novel, an English explorer in the Arctic, who assists Victor Frankenstein on the final leg of his chase, tells the story. As a talented young medical student, Frankenstein strikes upon the secret of endowing life to the dead. He becomes obsessed with the idea that he might make a man. The Outcome is a miserable and an outcast who seeks murderous revenge for his condition. Frankenstein pursues him when the creature flees. It is at this juncture t that Frankenstein meets the explorer and recounts his story, dying soon after. Although it has been adapted into films numerous times, they failed to effectively convey the stark horror and philosophical vision of the novel. Shelley's novel is a combination of Gothic horror story and science fiction.