Saturday, September 30, 2017

PCA Update 9/30

There is one day until the submission deadline for our sponsored session for PCA 2018 on children's and young adult versions of Frankenstein. I am disappointed to report that so far we have received ZERO proposals.

I am assuming the session will not be running.

My thanks to those that have helped spread the word about the call. Your efforts are much appreciated.

We will focus our attention now on promoting NEPCA 2018. Details can be found in the call for papers section of this site.

Michael Torregrossa
Fantastic (Fantasy, Horror, and Science Fiction) Area Chair

Wednesday, September 20, 2017

Han Cholo's Frankenstein

A quick update, all of the items from ThinkGeek licensed by Universal Studios are part of a larger product line from designer Han Cholo.

You can view all of the items and more at

A Shocking New Discovery?

A final post on ThinkGeek. The retailer has yet another item licensed from Universal Studios. This one is a pin designed to resemble some of the apparatus in the lab of Henry Frankenstein. (That's not a typo; remember Universal reverses the first names of Victor and Henry Clerval.) 

Ordering instructions and full details at:

Frankenstein the Tee-Shirt!

ThinkGeek also offers a cool-looking Frankenstein-inspired tee-shirt. The design features Mary Shelley writing and the Creature (though not a very Shelleyian one) manifesting from her imagination behind her.

A nice design here, BUT it is a woman's only shirt. If that applies to you, ordering instructions can be found at

More from ThinkGeek

In my continued browsing of the ThinkGeek site, I also came across a set of ID bracelets (another licensed product from Universal Studios) with the following description:

You're my favorite monster 
It's important to remember that Mary Shelley never gave her monster a name. It is we who named him Frankenstein after his creator. Frankenstein may be about many things, but one of the topics the story broaches is loneliness - that feeling the monster has that he is the only one of his kind in the world. He needs his own monster to feel kinship in this world.

We know that feeling of not fitting in, and maybe you do, too. Perhaps you also have a special monster in your life, or you are that special monster for someone else. This set of bracelets, reading "His Monster" and "Her Monster," lets you declare both your relationship and your otherworldliness all in one.

More details and ordering instructions at:

Puttin' on the Glitz?

Online retailer ThinkGeek is selling a set of Frankenstein-themed cufflinks this season. The items are officially licensed products from Universal Studios.

The set includes one Frankenstein's Monster and one Bride of Frankenstein.

Ordering instructions at

Sunday, September 10, 2017

CFP Frankenstein 1818 to 2018: 200 Years of Mad Scientists and Monsters: A First Call for Papers (6/1/2018; NEPCA 2018)

Frankenstein 1818 to 2018:

200 Years of Mad Scientists and Monsters

A First Call for Papers

The Fantastic (Fantasy, Horror, and Science Fiction) Area of the Northeast Popular Culture/American Culture Association seeks proposals for papers and/or complete sessions to commemorate the 200th anniversary of the publication of Mary Shelley’s Frankenstein in 1818 and to celebrate the longevity of her iconic characters of scientist Victor Frankenstein, “the pale student of unhallowed arts,” and his monstrous construct, “the thing he had put together,” as she succinctly describes them in her introduction to the 1831 reissue of the work.

Proposals should explore aspects of the novel as representations of the fantastic and/or the afterlife of the text in later fantastic narratives of any genre or medium in which adaptations have occurred.

Presentations will be part of the conference of the Northeast Popular Culture/American Culture Association to be held in the fall of 2018.

Please contact area chair Michael A. Torregrossa at with your proposals in advance of the 1 June 2018 deadline.

Further details and submission instructions will be available at Frankenstein and the Fantastic, an outreach effort of the Fantastic (Fantasy, Horror, and Science Fiction) Area of the Northeast Popular Culture/American Culture Association, based at

Thursday, September 7, 2017

CFP Revisiting 1818 in 2018 (9/30/2017; NeMLA 2018)

Of potential interest:

Revisiting 1818 in 2018

deadline for submissions: September 30, 2017

full name / name of organization: Northeast Modern Languages Association

contact email:

Call for Papers

Panel: "Revisiting 1818 in 2018"

Northeast Modern Languages Association

12-15 April 2018

Pittsburgh, PA

Richard Johnston, United States Air Force Academy

Panel Description: 1818 is a seminal year in British literary and cultural history. Mary Shelley published Frankenstein; or, The Modern Prometheus, and Thomas Love Peacock published another important Gothic novel, Nightmare Abbey. Other notable literary works to appear in 1818 include William Hazlitt’s Lectures on the English Poets, John Keats’ Endymion, Sir Walter Scott’s The Heart of Midlothian, and Percy Shelley’s enduring sonnet “Ozymandias” (as well as Horace Smith’s less-enduring sonnet “Ozymandias,” later retitled “On a Stupendous Leg of Granite.")  In January of that year, Lord Byron sent John Murray the final part of Childe Harold’s Pilgrimage; by September, he had written the first canto of Don Juan. Also in January, Samuel Taylor Coleridge delivered a lecture on Hamlet, the first in a series of major lectures on literature and philosophy. In April, Coleridge met Keats; seven months later, Keats met Fanny Brawne. Elsewhere in the arts, the Scottish painter David Wilkie finished The Penny Wedding, and the Besses o’ th’ Barn Band was established near Manchester. Building on the 1816 and 1817 panels at the last two meetings of the Northeast Modern Languages Association, this panel welcomes papers on the literature, culture, and/or enduring legacy of 1818.

Submission Guidelines: Please submit 300-word proposals by 30 September 2017. Proposals must be submitted electronically through the NeMLA website:

The title of this panel is “Revisiting 1818 in 2018,” and the number is 16938.

Questions? Contact Richard Johnston at

Last updated September 6, 2017

CFP Bicentenary Conference on Mary Shelley's Frankenstein (11/1/2017; Venice 2/21-22/2017)

Sorry to have missed this; the search engine for the U Penn CFP is a bit buggy:

The Bicentenary Conference on Mary Shelley's Frankenstein

deadline for submissions: November 1, 2017

full name / name of organization: University of Venice, Italy

contact email:

Call for papers

International Conference, Venice, 21-22 February 2018

University of Venice – Cà Foscari

The Bicentenary Conference on Mary Shelley’s Frankenstein

Ever since Mary Shelley’s Frankenstein was first published (1818), the story of the scientist and the Creature has been constantly and widely told, discussed, adapted, filmed, and translated, making generations of readers approach the novel in an extraordinary variety of ways and languages. The myth of the ‘modern Prometheus’ which Mary Shelley invented has been passed down throughout the centuries and morphed into countless shapes and figures contributing to the enhancement of the original text.

If first-time readers are surprised to discover that Frankenstein is not the name of the monster, and that in fact the monster has no name, all readers are given the opportunity to discover that the novel is a sort of encyclopedia, a text which explores different disciplines, from science to sociology, from psychology to medicine, from history to geography. Moreover, the numerous critical approaches to the text, varying from psychoanalytic, Marxist, feminist, deconstructionist, to ecocritic, all point out the multi-faceted features of the novel.

Although it is difficult to add new and original interpretations of Frankenstein, the pressure and the pleasure to celebrate the novel remains strong and authentic. In this spirit, the conference welcomes participants to share old and new interpretations, and contributes to the promotion of the worldwide events which will be held in 2018, all paying tribute to what is unarguably one of the most famous novels in world literature. When Mary Shelley, in her long Introduction to the1831 edition, wrote about the ‘invention’ of Frankenstein, she did not know that two hundred years later others would enjoy ‘moulding and fashioning’ her original idea, fulfilling the writer’s wish for her ‘hideous progeny [to] go forth and prosper’.

This conference aims to explore, analyse, and debate Mary Shelley’s novel and bicentenary, its reception in European culture and its influence on the media.

Possible topics include but are not limited to:

  • Frankenstein: the 1818 and 1831 version
  • Mary Shelley’s biography
  • Frankenstein and translations
  • Frankenstein and multilingualism
  • Multicultural Frankenstein
  • Frankenstein and the visual arts
  • Frankenstein and films
  • Frankenstein and adaptations
  • The reception of Frankenstein
  • Teaching Frankenstein
  • Publishing Frankenstein

Papers may be given in English, Italian, French and Spanish. Please send 200 words abstract for a 20-minute paper to Michela Vanon Alliata, Alessandro Scarsella and Maria Parrino at by 1 November 2017.

Scientific committee

Michela Vanon Alliata, Università di Venezia

Alessandro Scarsella, Università di Venezia

Maria Parrino, Università di Venezia

Last updated August 21, 2017

Sunday, September 3, 2017

CFP 200 Years of the Fantastic: Celebrating Frankenstein and Mary Shelley (10/31/2017; ICFA 3/14-18/2018)

Finally available:

CfP: “200 Years of the Fantastic: Celebrating Frankenstein and Mary Shelley,” ICFA 39, March 14-18, 2018
Posted on August 25, 2017 by Skye Cervone

Please join us for ICFA 39, March 14-18, 2018, when our theme will be “200 Years of the Fantastic: Celebrating Frankenstein and Mary Shelley.”

We welcome papers on the work of: Guest of Honor John Kessel (Nebula, Locus and Tiptree Award winner), Guest of Honor Nike Sulway (Tiptree and Queensland award winner; nominee for Aurealis and Crawford awards), and Guest Scholar Fred Botting (Professor, Kingston University London; author of Making Monstrous: “Frankenstein”, Criticism, Theory; Gothic; and Limits of Horror).

Mary Shelley and her Creature have had a pervasive influence on the fantastic. Brian Aldiss famously proclaimed Frankenstein as the first science fiction novel, fusing the investigation of science with the Gothic mode. Its myriad adaptation on stage, in film and beyond have continually reinvented Shelley’s tale for contemporary audiences, from James Whale’s iconic 1931 film through Showtime’s Penny Dreadful (2014-16). Frankenstein exists in many avatars and many languages. Its central invention of the scientifically created being has become a staple of the fantastic imaginary from Asimov’s robots through Ava in Ex Machina (Alex Garland 2014) or Samantha in Her (Spike Jonze 2013). Shelley Jackson’s early hypertext Patchwork Girl (1995) and Danny Boyle’s innovatively staged version of Nick Dear’s play both shows us how Frankenstein continues to push us toward innovations in form, while the novel’s interest in themes of scientific responsibility, social isolation, and gender inequality remain sharply relevant. We invite papers that explore the many legacies of Frankenstein on fantastic genres, characters, images and modes, especially those that explore the ongoing importance of women’s contributions to them, beginning with Mary Shelley. We also welcome proposals for individual papers, academic sessions, creative presentations, and panels on any aspect of the fantastic in any media.

The deadline for proposals is October 31, 2017. We encourage work from institutionally affiliated scholars, independent scholars, international scholars who work in languages other than English, graduate students, and artists.

To submit a proposal, go to

To contact the Division Heads for help with submissions, go to

To download a copy of the CfP, please click here.

CFP The Frankenstein Story in Children’s and Young Adult Culture (10/1/2017; PCA 2018)

Pleased to announce our sponsored session for PCA:

Friend or Fiend?
The Frankenstein Story in Children’s and Young Adult Culture

A Special Session of the Children’s and YA Literature and Culture Area of the Popular Culture Association

Sponsored by Frankenstein and the Fantastic, an outreach effort of the Fantastic (Fantasy, Horror, and Science Fiction) Area of the Northeast Popular Culture/American Culture Association

For the 2018 Annual Conference of the Popular Culture Association meeting in Indianapolis, Indiana, from 28-31 March 2018

Proposals no later than 1 October 2017

Mary Shelley’s Frankenstein celebrates its 200th anniversary in 2018. It is a work that has permeated popular culture, appearing in versions found across the globe, in all known media, and for all age groups. However, many aspects of this tradition remain underexplored by scholars. One of these is how the story and its characters have manifested in children’s and young adult culture.

Like Frankensteiniana for older audiences, versions of the story for young audiences offer interesting and important approaches to the novel and its textual progeny, and they deserve to be better known and analyzed, especially since, for many, works designed for the young represent their first encounters with Frankenstein and its characters.

Criticism on these works remains limited; though a growing number of scholars (see the selected bibliography appended to this call) have begun to offer more in the way of critical analysis, as opposed to just seeing them as curiosities. It is our hope that this session will continue this trend and foster further discussion and debate on these texts

In this session, we seek proposals that explore representations of Frankenstein, its story, and/or its characters in children’s and young adult culture. We are especially interested in how the Creature is received in these works, especially by children and young adult characters, but other approaches (and comments on other characters) are also valid.


Please submit paper proposals (100 to 200 words) and a short biographic statement into the PCA Database by 1 October 2017. The site is accessible at Do include your university affiliation if you have one, your email address, your telephone number, and your audio-visual needs.

Upon submission, be sure, also, to send your details to the organizers (Michael A. Torregrossa, Fantastic [Fantasy, Horror, and Science Fiction] Area Chair, and Amie Doughty, Children’s and YA Literature and Culture Area Chair) at, notifying them of your intentions to serve on the panel. Please use the subject “Frankenstein at PCA”.

Presentations at the conference will be limited to 15 to 20 minutes, depending on final panel size.

Do address any inquiries about the session to

Further details on the Frankenstein and the Fantastic project can be accessed at

Further details on the Children’s and YA Literature and Culture Area can be found at

Additional Information to Note:

The Popular Culture Association does not allow submissions to multiple areas and limits presenters to one paper per conference. (Further information on these policies appears at

Accepted presenters must register AND be members of the Popular Culture Association or join for 2018. (Details can be found at

The Popular Culture Association does offer a limited number of travel grants for the conference; nevertheless, potential presenters, when submitting their proposal, should be sure to have the necessary funds to attend the conference, as no shows are noted.


(please send details on additional references to

Coats, Karen, and Farran Norris Sands. “Growing Up Frankenstein: Adaptations for Young Readers.” The Cambridge Companion to Frankenstein, edited by Andrew Smith, Cambridge UP, 2016, pp. 241-55.

Hawley Erin. “The Bride and Her Afterlife: Female Frankenstein Monsters on Page and Screen.” Literature/Film Quarterly, Vol. 43, No. 3, pp. 218-231.

- - -. “ ‘Children Should Play with Dead Things’: Transforming Frankenstein in Tim Burton’s Frankenweenie.” Refractory, Vol. 26, October 2015.

- - -. “Reimagining the Horror Genre in Children’s Animated Film.” M / C Journal, Vol. 18, No. 6, 2015.

Hitchcock, Susan Tyler. Frankenstein: A Cultural History. W. W. Norton, 2007,

Jowett, Lorna, and Stacey Abbott. TV Horror: Investigating the Dark Side of the Small Screen. I. B. Tauris, 2013. (see especially “ ‘Show Us Your Fangs!’: Children’s Television,” pp. 26-30)

Monday, August 14, 2017

Frankenstein (1818): The Norton Critical Edition

Frankenstein, Second Edition
Norton Critical Editions
Mary Shelley (Author), J. Paul Hunter (Editor, University of Chicago)

Book Details
Retail: $17.50
December 2011
ISBN: 978-0-393-92793-1
544 pages


The best-selling student edition on the market, now available in a Second Edition.

Almost two centuries after its publication, Frankenstein remains an indisputably classic text and Mary Shelley’s finest work.

This extensively revised Norton Critical Edition includes new texts and illustrative materials that convey the enduring global conversation about Frankenstein and its author. The text is that of the 1818 first edition, published in three volumes by Lackington, Hughes, Harding, Mavor, and Jones. It is accompanied by an expansive new preface, explanatory annotations, a map of Geneva and its environs, and seven illustrations, five of them new to the Second Edition.

Context is provided in three supporting sections: “Circumstance, Influence, Composition, Revision,” “Reception, Impact, Adaptation,” and “Sources, Influences, Analogues.” Among the Second Edition’s new inclusions are historical-cultural studies by Susan Tyler Hitchcock, William St. Clair, and Elizabeth Young; Chris Baldrick on the novel’s reception; and David Pirie on the novel’s many film adaptations. Related excerpts from the Bible and from John Milton’s Paradise Lost are now included, as is Charles Lamb’s poem “The Old Familiar Faces.”

“Criticism” collects sixteen major interpretations of Frankenstein, nine of them new to the Second Edition. The new contributors are Peter Brooks, Bette London, Garrett Stewart, James. A. W. Heffernan, Patrick Brantlinger, Jonathan Bate, Anne Mellor, Jane Goodall, and Christa Knellwolf.

A Chronology and Selected Bibliography are also included.


List of Illustrations


The Text of Frankenstein

map: Geneva and Its Environs

Title page (1818)

Dedication (1818)




  • Mary Shelley • Introduction to Frankenstein, Third Edition (1831)
  • John William Polidori • Letter Prefaced to The Vampyre (1819)
  • M. K. Joseph • The Composition of Frankenstein
  • Chris Baldick • [Assembling Frankenstein]
  • Richard Holmes • [Mary Shelley and the Power of Contemporary Science]
  • Christa Knellwolf and Jane Goodall • [The Significance of Place: Ingolstadt]
  • Charles E. Robinson • Texts in Search of an Editor: Reflections on The Frankenstein Notebooks and on Editorial Authority
  • Anne K. Mellor • Choosing a Text of Frankenstein to Teach

  • Percy Bysshe Shelley • On Frankenstein
  • [John Croker] • From the Quarterly Review (January 1818)
  • Sir Walter Scott • From Blackwood’s Edinburgh Magazine (March 1818)
  • Edinburgh Magazine • [On Frankenstein] (March 1818)
  • Gentleman’s Magazine • [On Frankenstein] (April 1818)
  • Knight’s Quarterly • [On Frankenstein] (August–November 1824)
  • Hugh Reginald Haweis • Introduction to the Routledge World Library Edition (1886)
  • Chris Baldick • [The Reception of Frankenstein]
  • William St. Clair • [Frankenstein’s Impact]
  • Susan Tyler Hitchcock • [The Monster Lives On]
  • Elizabeth Young • [Frankenstein as Historical Metaphor]
  • David Pirie • Approaches to Frankenstein [in Film]

  • The Book of Genesis • [Biblical Account of Creation]
  • John Milton • From Paradise Lost
  • Percy Bysshe Shelley • Mont Blanc (1816)
  • [The Sea of Ice] (1817)
  • Mutability
  • George Gordon, Lord Byron • Prometheus
  • Darkness
  • From Childe Harold’s Pilgrimage, Canto III (1816)
  • Charles Lamb • The Old Familiar Faces 


George Levine • Frankenstein and the Tradition of Realism

Ellen Moers • Female Gothic: The Monster’s Mother

Sandra M. Gilbert and Susan Gubar • Mary Shelley’s Monstrous Eve

Mary Poovey • “My Hideous Progeny”: The Lady and the Monster

Anne K. Mellor • Possessing Nature: The Female in Frankenstein

Peter Brooks • What Is a Monster? (According to Frankenstein)

Bette London • Mary Shelley, Frankenstein, and the Spectacle of Masculinity

Marilyn Butler • Frankenstein and Radical Science

Lawrence Lipking • Frankenstein, the True Story; or, Rousseau Judges Jean-Jacques

Garrett Stewart • In the Absence of Audience: Of Reading and Dread in Mary Shelley

James A. W. Heffernan • Looking at the Monster: Frankenstein and Film

Patrick Brantlinger • The Reading Monster

Jonathan Bate • [Frankenstein and the State of Nature]

Anne K. Mellor • Frankenstein, Racial Science, and the Yellow Peril

Jane Goodall • Electrical Romanticism

Christa Knellwolf • Geographic Boundaries and Inner Space: Frankenstein, Scientific Exploration, and the Quest for the Absolute

Mary Shelley: A Chronology

Selected Bibliography

Glut's The Frankenstein Archive

From the master of Frankensteiniana:

The Frankenstein Archive: Essays on the Monster, the Myth, the Movies, and More
Donald F. Glut

Price: $35.00
Print ISBN: 978-0-7864-1353-9
Ebook ISBN: 978-0-7864-8069-2
55 photos, index
233pp. softcover (6 x 9) 2002
Available for immediate shipment

About the Book

Mary Wollstonecraft Shelley’s classic novel Frankenstein: or, The Modern Prometheus, first published in 1818, started a phenomeon that has survived the years and permeated many aspects of popular culture. It has spawned numerous films, television programs, books, comics, stage presentations, and the like, and continues to do so today.

Like the Frankenstein Monster, this work is made up of many individual parts, some of which are quite different in their specific themes, but all of which relate to Frankenstein in some way. They consider the untold true story of Frankenstein, Glenn Strange’s portrayals of the Monster, the portrayals of lesser-known actors who played the character, Peter Cushing and his role as Baron (and Dr.) Frankenstein, the classic film Young Frankenstein co-written by Mel Brooks and Gene Wilder (who also starred in it), the battles between do-gooders and the Monster and other horror figures, Frankenstein in cartoons—and much more.

Each of the 15 essays, all written by the author, is prefaced with explanatory notes that place the essay in its historical perspective, comment on its origin and content, and where appropriate, supplement the text with new, additional, or otherwise relevant information. Richly illustrated.

Table of Contents

Preface 1

1 Frankenstein: The (Untold) True Story 5

2 The "Strange" Frankenstein Monster 34

3 A Forgotten Frankenstein? 49

4 Peter Cushing: "Dr. Frankenstein, I Presume" 58

5 Young Frankenstein--Classic in the Making 66

6 Super-Heroes vs. Frankenstein (and Company) 81

7 "What’s Up, Doc Frankenstein (Jekyll and Fu Manchu)?" 96

8 The Beatles Meet Frankenstein 112

9 A Score of Frankenstein Misconceptions 117

10 Frankenstein on the Home-Movie Screen 138

11 "This Is Your Life, Frankenstein’s Monster" 152

12 Frankenstein Sings-and Dances, Too 157

13 Frankenstein in Four Colors 164

14 The Monster of Frankenstein (Almost) Returns 189

15 The New Adventures of Frankenstein 202

Index 217

About the Author

Donald F. Glut is a prolific book and article writer, and movie producer-director. He is the president of Frontline Entertainment and lives in Burbank, California.

Friedman and Kavey's Monstrous Progeny

Monstrous Progeny: A History of the Frankenstein Narratives
By Lester D. Friedman, Allison B. Kavey

256 pages, 37 photographs, 152.4 x 228.6

Paperback,August 1, 2016,$27.95

Cloth Over Boards,August 1, 2016,$90.00

PDF,August 1, 2016,$27.95

EPUB,August 1, 2016,$27.95

About This Book

Mary Shelley’s 1818 novel Frankenstein is its own type of monster mythos that will not die, a corpus whose parts keep getting harvested to animate new artistic creations. What makes this tale so adaptable and so resilient that, nearly 200 years later, it remains vitally relevant in a culture radically different from the one that spawned its birth?

Monstrous Progeny takes readers on a fascinating exploration of the Frankenstein family tree, tracing the literary and intellectual roots of Shelley’s novel from the sixteenth century and analyzing the evolution of the book’s figures and themes into modern productions that range from children’s cartoons to pornography. Along the way, media scholar Lester D. Friedman and historian Allison B. Kavey examine the adaptation and evolution of Victor Frankenstein and his monster across different genres and in different eras. In doing so, they demonstrate how Shelley’s tale and its characters continue to provide crucial reference points for current debates about bioethics, artificial intelligence, cyborg lifeforms, and the limits of scientific progress.

Blending an extensive historical overview with a detailed analysis of key texts, the authors reveal how the Frankenstein legacy arose from a series of fluid intellectual contexts and continues to pulsate through an extraordinary body of media products. Both thought-provoking and entertaining, Monstrous Progeny offers a lively look at an undying and significant cultural phenomenon.

Table of Contents


Introduction: Singing the Body Electric

1 In a Country of Eternal Light: Frankenstein’s Intellectual History

2 The Instruments of Life: Frankenstein’s Medical History

3 A More Horrid Contrast: From the Page to the Stage

4 It’s Still Alive: The Universal and Hammer Movie Cycles

5 The House of Frankenstein: Mary Shelley’s Step Children

6 Fifty Ways to Leave Your Monster


Select Bibliography


About the Authors

LESTER D. FRIEDMAN is a professor and former chair of the Media and Society Program at Hobart and William Smith Colleges in Geneva, New York. He is the author, coauthor, or editor of over twenty books including American Cinema of the 1970s (Rutgers University Press) and the forthcoming, Tough Ain’t Enough.

ALLISON B. KAVEY is an associate professor of early modern history at CUNY John Jay College of Criminal Justice and the CUNY Graduate Center in New York, New York. She is the author, coauthor, or editor of several books including Second Star to the Right: Peter Pan in the Cultural Imagination, co-edited with Friedman (Rutgers University Press).

Sunday, August 13, 2017

Picart on Frankenstein from 2003

A final one for the night:

Remaking the Frankenstein Myth on Film: Between Laughter and Horror
Caroline Joan S. Picart - Author
SUNY series in Psychoanalysis and Culture

Hardcover - 268 pages
Release Date: July 2003
ISBN10: 0-7914-5769-9
ISBN13: 978-0-7914-5769-6

Price: $33.95 (listed as Out of Print)
Paperback - 268 pages
Release Date: July 2003
ISBN10: 0-7914-5770-2
ISBN13: 978-0-7914-5770-2

Available as a Google eBook for other eReaders and tablet devices.


Explores how filmmakers and screenwriters have used comedy and science fiction to extend the boundaries of the Frankenstein narrative.

Focusing on films outside the horror genre, this book offers a unique account of the Frankenstein myth's popularity and endurance. Although the Frankenstein narrative has been a staple in horror films, it has also crossed over into other genres, particularly comedy and science fiction, resulting in such films as Abbott and Costello Meet Frankenstein, Young Frankenstein, The Rocky Horror Picture Show, Bladerunner, and the Alien and Terminator film series. In addition to addressing horror's relationship to comedy and science fiction, the book also explores the versatility and power of the Frankenstein narrative as a contemporary myth through which our deepest attitudes concerning gender (masculine versus feminine), race (Same versus Other), and technology (natural versus artificial) are both revealed and concealed. The book not only examines the films themselves, but also explores early drafts of film scripts, scenes that were cut from the final releases, publicity materials, and reviews, in order to consider more fully how and why the Frankenstein myth continues to resonate in the popular imagination.

“…invites readers to explore an innovative take on horror film genres and gender. Picart’s exploration of the three shadows as well as her claim that hybrid forms of horror create opportunities for empowerment pose for the interested reader a challenge: to expand and adapt her insights in our own hybrid explorations of gender and film.” — Women and Language

"Picart tells a story of the story of every film in a gifted way; this takes talent, as well as a thorough familiarity with the films and a genuine enthusiasm for them." — Joseph Natoli, author of Memory's Orbit: Film and Culture 1999–2000

"Picart displays an assurance and command of a complex historical and critical field, which she handles with considerable focus and lucidity. She argues that the fairly rigid sexual politics of the earlier, classic Frankenstein films give way to a more complex set of visions when taken up in various comic and science fiction treatments. Her work is more than a mere commentary on earlier scholarship—it is a real advance and stands on its own as the book to read." — Thomas W. Benson, coauthor of Reality Fictions: The Films of Frederick Wiseman

Caroline Joan S. Picart is Assistant Professor of English and Humanities and Courtesy Assistant Professor of Law at Florida State University. She is the author of The Cinematic Rebirths of Frankenstein: Universal, Hammer, and Beyond and the coauthor (with Frank Smoot and Jayne Blodgett) of The Frankenstein Film Sourcebook.

Table of Contents


1. Frankenstein as Enduring Cinemyth

2. (Un)Leashing Laughter: Gender, Power, and Humor

3. Daemonic Dread

4. On the Edge of Terror and Humor

5. Postmodern Horror-Hilarity



About the Author


Picart on Film from 2001

More for the bookshelf:

The Cinematic Rebirths of Frankenstein: Universal, Hammer, and Beyond
by Caroline Joan (Kay) S. Picart

Showcases the versatility of the Frankenstein myth as expressed in the horror genre and provides a sustained critical analysis of the story's evolution over many decades, many studios, and many different styles of filmmaking.

October 2001
Pages: 240
Volumes: 1
Size: 6 1/8x9 1/4
Topics: Popular Culture/Film



The Frankenstein narrative is one of cinema's most durable, and it is often utilized by the studio system and the most renegade independents alike to reveal our deepest aspirations and greatest anxieties. The films have concerned themselves with demarcations of gender, race, and technology, and this new study aims to critique the more traditional interpretations of both the narrative and its sustained popularity. From James Whale's Frankenstein (1931) through Kenneth Branagh's Mary Shelley's Frankenstein (1994), the story remains a nuanced and ultimately ambivalent one and is discussed here in all of its myriad terms: aesthetic, cultural, psychological, and mythic.

Beginning with an examination of the narrative's origins in the myth of the birth of Dionysus from the thigh of Zeus, The Cinematic Rebirths of Frankenstein goes on to consider each of the film's many incarnations, from the Universal horror films of the thirties through the British Hammer series and beyond. Moving easily between the scholarly and the popular, the book employs both primary texts-including scripts, posters, and documentation of production histories-and a rigorous, scholarly examination of the many implications of this often-misunderstood subgenre of horror cinema.




Envisaging the Monstrous

The Universal Series

Beyond the Universal and Hammer Series

Mythic (Im)Mortality


For the bookshelf: The Frankenstein Film Sourcebook

A valuable resource:

Frankenstein Film Sourcebook
by Caroline Joan (Kay) S. Picart, Frank Smoot, Jayne Blodgett

A compilation of primary and secondary information on the numerous and multifarious film incarnations of the Frankenstein narrative, ranging across horror, comedy, science fiction, pornography, and animation.

June 2001
Pages: 368
Volumes: 1
Size: 6 1/8x9 1/4
Topics: Popular Culture/Film


eBook Available from ABC-CLIO


The endurance of the Frankenstein narrative as a modern cinematic myth is undeniable. Its flexibility has produced classic and contemporary horror film-most notably the Universal films of the thirties-but it has also resulted in unusual hybrids, such as musical horror-comedy (The Rocky Horror Picture Show), hyperbolic parody (Flesh for Frankenstein), and science fiction (the Alien and Terminator series). This sourcebook provides a complete guide to all of the story's filmic incarnations-including essential information such as cast, creative personnel, and plot summaries-and also guides the reader to relevant primary texts such as scripts, posters, production histories, and newspaper clippings. Utilizing an approach that is both popular and scholarly, and including spotlight essays that deal with contemporary academic approaches to the subject, The Frankenstein Film Sourcebook reveals the depth of the cinematic range of interpretations of a classic modern myth.

Comprehensive in its scope, The Frankenstein Film Sourcebook provides an alphabetical guide to two hundred films that incorporate the Frankenstein narrative. It also delves into both primary and secondary perspectives and includes discussions of aspects of the films, such as their depiction of women, which is relevant to current scholarly critiques.


Foreword by Noël Carroll

Introduction by Caroline Joan S. Picart

A Note on the Entries

An Alphabetical Listing of Frankenstein Films

Appendix One: General Texts on Frankenstein Films

Appendix Two: "Body Parts" Films

Appendix Three: "Re-Animation" Films

Must Read: The Endurance of Frankenstein

The work that begin the discipline of Frankenstein Studies in 1979:

The Endurance of Frankenstein: Essays on Mary Shelley's Novel
George Levine (Editor), U. C. Knoepflmacher (Editor)

Available worldwide
Paperback, 362 pages
ISBN: 9780520046405
May 1982
$33.95, £27.95


MARY SHELLEY's Frankenstein; or, The Modern Prometheus grew out of a parlor game and a nightmare vision. The story of the book's origin is a famous one, first told in the introduction Mary Shelley wrote for the 1831 edition of the novel. The two Shelleys, Byron, Mary's stepsister Claire Clairmont, and John William Polidori (Byron's physician) spent a "wet, ungenial summer in the Swiss Alps." Byron suggested that "each write a ghost story." If one is to trust Mary Shelley's account (and James Rieger has shown the untrustworthiness of its chronology and particulars), only she and "poor Polidori" took the contest seriously. The two "illustrious poets," according to her, "annoyed by the platitude of prose, speedily relinquished their uncongenial task." Polidori, too, is made to seem careless, unable to handle his story of a "skull-headed lady." Though Mary Shelley is just as deprecating when she speaks of her own "tiresome unlucky ghost story," she also suggests that its sources went deeper. Her truant muse became active as soon as she fastened on the "idea" of "making only a transcript of the grim terrors of my waking dream": "'I have found it! What terrified me will terrify others."' The twelve essays in this collection attest to the endurance of Mary Shelley's "waking dream." Appropriately, though less romantically, this book also grew out of a playful conversation at a party. When several of the contributors to this book discovered that they were all closet aficionados of Mary Shelley's novel, they decided that a book might be written in which each contributor-contestant might try to account for the persistent hold that Frankenstein continues to exercise on the popular imagination. Within a few months, two films--Warhol's Frankenstein and Mel Brooks's Young Frankenstein--and the Hall-Landau and Isherwood-Bachardy television versions of the novel appeared to remind us of our blunted purpose. These manifestations were an auspicious sign and resulted in the book Endurance of Frankenstein.


Detailed contents list from WorldCat (, the press's website only presents the major sections.

List of Illustrations


Mary Wollstonecraft Godwin Shelley and Frankenstein: A Chronology

[Part I. Traditions : looking forwards and backwards] Ambiguous heritage of Frankenstein / George Levine. Frankenstein as mystery play / Judith Wilt. Fire and ice in Frankenstein / Andrew Griffin --

[Part II. Biographical soundings : of mothers and daughters] Female Gothic / Ellen Moers. Thoughts on the aggression of daughters / U.C. Knoepflmacher --

[Part III. Contexts : society and self] Monsters in the garden : Mary Shelley and the bourgeois family / Kate Ellis. Mary Shelley's monster : politics and psyche in Frankenstein / Lee Sterrenburg. Vital artifice : Mary, Percy, and the psychopolitical integrity of Frankenstein / Peter Dale Scott --

[Part IV. Texture : language and the grotesque] "Godlike science / unhallowed arts" : language, nature and monstrosity / Peter Brooks. Frankenstein and comedy / Philip Stevick --

[Part V. Visual progeny : drama and film] Stage and film children of Frankenstein : a survey / Albert J. Lavalley. Coming to life : Frankenstein and the nature of film narrative / William Nestrick.

Appendix: "Face to face" : of man-apes, monsters, and readers.

Selected Annotated Bibliography

Essential Resource: Approaches to Teaching Shelley’s Frankenstein

Approaches to Teaching Shelley’s Frankenstein
Editor: Stephen C. Behrendt

Pages: x & 190 pp.
Published: 1990
Approaches to Teaching World Literature
ISBN: 9780873525398 (Cloth)
ISBN: 9780873525404 (Paperback)


Mary Shelley’s Frankenstein is both a literary work very much rooted in its age and a cultural artifact that transcends period. “Undeniably one of the great and influential works of the English Romantic period,” writes the editor, Stephen C. Behrendt, the novel provides “an excellent vehicle for introducing students to the complexities of Romantic art and thought.” At the same time, as this volume demonstrates, Frankenstein is often studied in college and secondary school courses focusing not on Romanticism but on science fiction, Gothic fiction, women’s literature, or film and popular culture.

The book, like others in the MLA’s Approaches to Teaching World Literature series, is divided into two parts. The first part, “Materials,” reviews editions of Frankenstein, discusses reference and critical works and recommended reading for students, and lists selected film versions of the novel. In the second part, “Approaches,” instructors present classroom strategies for teaching the novel. The essays are divided into four groupings: general issues (e.g., choosing a text, gender and pedagogy, language and style), contexts of study (e.g., biography, Romanticism), course contexts (e.g., science fiction, women’s studies, composition), and Frankenstein and film.

No contents list available.

Friday, August 11, 2017

CFP Organic Machines/Engineered Humans: (Re)Defining Humanity (Spring 2018 issue of Interdisciplinary Humanities) (11/15/2017)

Of related interest:

Organic Machines/Engineered Humans: (Re)Defining Humanity
Spring 2018 issue of Interdisciplinary Humanities
Announcement published by Dore' Ripley on Monday, August 7, 2017
(and additional information from

Type: Call for Papers
Date: November 15, 2017

From E.T.A Hoffmann’s Tales of Hoffmann and Philip K. Dick’s Do Androids Dream of Electric Sheep to Isaac Asimov’s I, Robot and Vernor Vinge's Rainbows End authors have been exploring the human/machine interface since before the computer age. Today we stand on the threshold to the lab as the government contemplates microchipping all U.S. military personnel and Swedish office workers are already implanting themselves for convenience ala M.T. Anderson's Feed. A 2014 study conducted by Cisco Systems found approximately one-quarter of the white-collar professionals surveyed “would leap at the chance to get a surgical brain implant that allowed them to instantly link their thoughts to the Internet”. We are already experimenting with gene therapy, cybernetics via cochlear implants and many other technical organic enhancements, autonomous self-replicating robots, nanotechnology, mind uploading, and artificial intelligence.

The Spring 2018 edition of Interdisciplinary Humanities wants to consider topics focused on transhumanism, the singularity, and the arrival of the bio-engineered human/machine interface and what it means for the humanities as we redefine identity, pedagogy, humanity, class structure, literature (past, present, and future) and the diversity of our species. We invite papers in disciplines and areas of study. Multiple disciplines will help us understand and grapple with how we will redefine identity and the diversity of our species through the dynamic interplay of humanity and the acceleration of technology.

The Humanities Education and Research Association, Interdisciplinary Humanities’ parent organization, requires that authors become members of HERA if their essays are accepted for publication. Information on membership may be found at:

Contact Info:

For more information contact: Doré' Ripley, HERA (Humanities Education and Research Association)

Contact Email: