Out Now - Frankenstein: The Complete Screenplay

Frankenstein: The Complete Screenplay

Written and Directed by Guillermo del Toro

Written By: Guillermo del Toro

Full details and ordering information at https://insighteditions.com/products/frankenstein-the-complete-screenplay. 

This product only ships to US and Canada

$29.99

Format: Hardcover

Publication Date: 11/25/2025

ISBN: 9798337400167

Pages: 240

Trim Size: 8.5 x 11

Description 

Frankenstein, directed by Guillermo del Toro, delves deep into the timeless tragedy of Victor Frankenstein—from his grisly experiments and the destruction wrought in their wake to his quest for redemption in the frigid Arctic—in this unforgettable reimagining of one of the most iconic literary works of all time.

Featuring stunning concept art, film stills, and behind-the-scenes photography, this official reproduction of the film’s complete screenplay invites readers into del Toro’s world as the classic story was adapted for the screen. With nuanced character development and poignant dialogue, the script brings fresh life to Shelley’s tale, exploring like never before the fractured relationship between creator and creation. From the tormented Victor Frankenstein to his tragic monster, del Toro’s unique artistic voice shines through every page, offering an immersive experience for fans of both the original novel and del Toro’s cinematic genius.

About the Author

Guillermo del Toro, Author: Guillermo del Toro is the acclaimed director of The Shape of Water, Pan’s Labyrinth, Pacific Rim, and Crimson Peak. His Strain novels are international best sellers. He lives in Los Angeles with his wife, kids, dog, cat, and rat.

Art and Making of del Toro's Frankenstein - Out Now

Frankenstein

Written and Directed by Guillermo del Toro

Written By: Sheila O'Malley, Guillermo del Toro, Oscar Isaac

Full details and ordering information at https://insighteditions.com/products/frankenstein. 

This product only ships to US and Canada

$75.00

Format: Hardcover

Publication Date: 10/28/2025

ISBN: 9798886638912

Pages: 320PP+1x6PP+1x8PP

Trim Size: 9.25 x 12.75

Description 

Dive into the mesmerizing world of the highly anticipated film Frankenstein, directed by Guillermo del Toro, with the exclusive Art and Making of Frankenstein. This stunning volume offers an extensive behind-the-scenes look at the creative genius of del Toro and his collaborators—including his all-star cast: Oscar Isaac, Jacob Elordi, Mia Goth, Christoph Waltz, and more—and showcases breathtaking concept art, an array of period-specific props, locations, costumes, and deep insights into the filmmaking process. Discover the visionary interpretations of classic characters, the meticulous craftsmanship that brings them to life, and the rich thematic layers that define this reimagining of Mary Shelley's timeless tale. Combining in-depth commentary with unparalleled set access, this insightful book will provide a deeper understanding of Del Toro’s legendary creative process. Exclusive interviews with the director, cast, and production crew are paired with candid set photos, exclusive storyboards, costumes, and concept artwork. This book is a must-have for fans of del Toro, film enthusiasts, and art lovers alike. Immerse yourself in the darkly enchanting universe of Frankenstein and witness the magic of storytelling through the lens of one of cinema's most imaginative directors. The book will also contain del Toro’s own developmental sketches of the monster from his legendary notebooks and over twelve unique ephemera items inserted by hand into each book.

GOTHIC CLASSIC: The story that birthed an entire genre, Frankenstein is the quintessential gothic masterpiece. Now, experience as never before through the unique vision of Director Guillermo del Toro, who has dreamt his whole life of making this film.

VISIONARY DIRECTOR: Known as the master of monsters, Guillermo del Toro’s unique blend of beauty and horror make a perfect marriage with the tale of Victor Frankenstein’s tragic, thrilling and human Monster.

BREATHTAKING VISUALS: This deluxe coffee table book will feature exclusive storyboards, concept art, behind-the-scenes photography, and film stills to go along with interviews and insights from the creative teams.

About the Authors

Sheila O'Malley, Author: Sheila O'Malley is a film critic and culture writer. She has been reviewing films for Rogerebert.com since 2013, and has also written for Film Comment, The New York Times, Sight & Sound, and the Criterion Collection. She's a member of the New York Film Critics Circle and the National Society of Film Critics. 

Guillermo del Toro, Foreword: Guillermo del Toro is the acclaimed director of The Shape of Water, Pan’s Labyrinth, Pacific Rim, and Crimson Peak. His Strain novels are international best sellers. He lives in Los Angeles with his wife, kids, dog, cat, and rat.

New Book - Remaking the Monster: Transmedia Adaptations of Frankenstein’s Creature

Remaking the Monster: Transmedia Adaptations of Frankenstein’s Creature

Alissa Burger (Author)

Full details and ordering information at https://www.bloomsbury.com/us/remaking-the-monster-9781666970258/.

Description

In Remaking the Monster, Alissa Burger adopts an interdisciplinary approach to examine the continued influence of Frankenstein's Creature on popular culture, demonstrating through close readings the necessity of reconsidering its role and meaning as it has changed over time.

Since the Creature's introduction to the horror genre's canon, proliferating and evolving for over a century across a variety of media formats and genres, Burger posits that each new iteration of its appearance and impact encourages audiences to (re)consider critical questions about society and about ourselves. What are we capable of-both good and bad? What care, if any, do we owe to one another? And how might a monstrous appearance belie a deeper truth?

Ultimately, Burger argues, wherever and however the Creature appears, part of its innate function-and perhaps, the key to its perennial resonance with audiences-is found in the approachable opportunity to engage with daunting concepts of life and death, choice, agency, and, above all, what it means to be human.

Table of Contents

Introduction

PART I: THEMES

1. Boris Karloff as the Creature

2. Encountering the Creature

3. A Community of Monsters

4. Gothic Prestige

5. The Desirable Creature

PART II: FORMATS

6. New Visions of the Creature in Graphic Narratives

7. The Animated Creature

8. Board Games

9. Video Games

10. Creating the Creature

Conclusion

About the Author

Index

Product details

Published Feb 05 2026

Format Hardback

Edition 1st

Extent 240

ISBN 9781666970258

Imprint Bloomsbury Academic

Dimensions 9 x 6 inches

Series Villains and Creatures: Critical Perspectives on Cultural Tropes

Publisher Bloomsbury Publishing

About the Author

Biography

Alissa Burger is Associate Professor of English at Culver-Stockton College, USA. She teaches courses in research, writing, and literature, specializing in gender, horror, and the Gothic. She is the author of IT, Chapters One & Two (2023), The Quest for the Dark Tower: Genre and Interconnection in the Stephen King Series (2021), Teaching Stephen King: Horror, The Supernatural, and New Approaches to Literature (2016) and The Wizard of Oz as American Myth: A Critical Study of Six Versions of the Story, 1900-2007 (2012).

Recent from Applause - Blazing Saddles Meets Young Frankenstein

Blazing Saddles Meets Young Frankenstein: The 50th Anniversary of the Year of Mel Brooks

Bruce G. Hallenbeck (Author)

Full details and ordering information at https://www.bloomsbury.com/us/blazing-saddles-meets-young-frankenstein-9781493078004/. 

Description

An in-depth look at the 1974 releases of Mel Brooks's Blazing Saddles and Young Frankenstein that will leave cinephiles enthralled.

1974 was a busy year for Mel Brooks. Although still recovering after a series of failed projects threatened his career, he pulled off a one-two punch that saw the release of two of the most beloved American comedies ever made: Blazing Saddles and Young Frankenstein. Although both films are well-known, the stories beyond the making of each movie are less so. How did they come to be, and how did the era’s culture and politics not only permit them to be made, but help them to become enduring comedy classics?

With their riotous parodies of Westerns and classic horror movies, Blazing Saddles and Young Frankenstein were not only hilarious. They played with charged social and cultural themes in an inimitable way, raising the bar for modern comedies even as they reshaped the two genres they were sending up. Blazing Saddles Meets Young Frankenstein: The 50th Anniversary of the Year of Mel Brooks explores in depth the zeitgeist and cinematic alchemy that led to 1974 becoming “the year of Mel Brooks.”

Product details

Published Nov 12 2024

Format Paperback

Edition 1st

Extent 272

ISBN 9781493078004

Imprint Applause

Illustrations 25 Color Photos

Dimensions 0 x 0 inches

Publisher Bloomsbury Publishing

About the Author

Bruce G. Hallenbeck is an author, actor, and screenwriter whose films include Vampyre, Fangs, and The Drowned. His many books on film history include The Hammer Frankenstein, Rock’n’Roll Monsters: The American International Story, and Poe Pictures. Hallenbeck has also acted in such features as Shadow Tracker, Edge of Reality, and Project D: Classified. He lives in upstate New York with his wife Rosa, two cats, and several ghosts.

CFP Reimagining Frankenstein in the 21st Century: Cross-Cultural Adaptations in Visual Culture (12/1/2025)

Please note, this call has educational and employment restrictions for applicants.

REIMAGINING FRANKENSTEIN IN THE 21ST CENTURY: Cross-Cultural Adaptations in Visual Culture

deadline for submissions:
December 1, 2025

full name / name of organization:
Cenk Tan and Defne Ersin Tutan

contact email:
adaptingfrankenstein@gmail.com

source: https://call-for-papers.sas.upenn.edu/cfp/2025/10/01/reimagining-frankenstein-in-the-21st-century-cross-cultural-adaptations-in-visual

CALL FOR BOOK CHAPTERS

REIMAGINING FRANKENSTEIN IN THE 21ST CENTURY: Cross-Cultural Adaptations in Visual Culture

Edited by Cenk Tan & Defne Ersin Tutan

Editors’ Introduction

Mary Wollstonecraft Shelley’s Frankenstein, or, the Modern Prometheus (1818) has endured for over two centuries as one of the most mutable and culturally vibrant texts, continually reinvented through shifting global anxieties and paradigms. Despite transcending its original historical and cultural context, Shelley’s narrative has been utilized to mirror contemporary fears and concerns, thereby keeping its initial core. Whether it be fears of technological overreach, social alienation, and the ethical boundaries of human ambition, or concerns over science, identity, and power in the broader sense, Frankenstein still retains its global allure and timeless appeal, owing significantly to its adaptations on screen and on television.

Grounded in innumerable and invaluable novel-to-film analyses, Adaptation Studies has recently expanded its boundaries in innovational directions, and, as Sarah Cardwell contends, “[j]ust as adaptations have moved away from their source books, so too must the approach through which we consider them. […] [N]ovel-adaptation comparison is an inadequate starting point for the interpretation, analysis and evaluation of individual adaptations” (205-206). In line with this perspective, contemporary scholarship addresses adaptations as rewritings, appropriations, modernizations and/or localizations that shed light not necessarily on the source texts they adapt but on “the circumstances of their creation” (Murray 5). Viewed in this manner, adaptations of Frankenstein do more than retell a familiar story—they refract Shelley’s foundational questions through local narrative traditions, demonstrating the text’s remarkable adaptability to different cultural contexts and crises.

In this framework, this edited volume sets out to examine how 21st-century films and television series adapt Frankenstein across diverse cultural contexts—from Hollywood blockbusters to local cinema traditions—to reanimate Shelley’s core themes for modern audiences. Through case studies spanning Guillermo Del Toro’s anticipated Gothic reimagining, German refractions, South Korean thrillers, and beyond, the volume aims to reveal how the Frankenstein lore speaks to urgent contemporary concerns. By doing so, it also aspires to formulate theoretical stances on localization.

As such, the chapters are expected to demonstrate an argumentative framework and move beyond the mere “from the page to the screen” approach of comparing the two; instead, moving from the case study to possible “theorizing,” the argument is to look forward to designing an approach through which localized adaptations contribute to Adaptation Studies in the broader spectrum. Therefore, informative/descriptive studies will not be considered.

To elaborate, each chapter is expected to be solidly grounded in a theoretical argument through which it would address the dynamics of adaptation in the localizing process. It may strive to answer questions such as: how does the source text get appropriated in its new national, social and historical context? How does it (or is made to) appeal to a foreign audience (i.e. to one that is different from the source text’s original audience)? Is the source text appropriated in line with the local necessities of production or with the assumed expectations of the society and/or the audience? Is the end-product recognized as an adaptation or claimed to be “native”? [One should bear in mind Thomas Leitch’s remarkable question: “If an audience overlooks the intertextual allusion of a specific adaptation, does it still qualify as an adaptation?” (95).] Is the localized version merely a commercial product, a commodity, or a political/social/cultural “statement”? Does it actually keep any of its genuine literary and/or artistic merits or is it incorporated into popular culture? As such, the chapters would contribute to the ongoing debates on localization as a fashionable contemporary form of adaptation, as well as the theory of adaptation at large.

Works Cited

Cardwell, Sarah. Adaptation Revisited: Television and the Classic Novel. Manchester UP, 2002.

Leitch, Thomas. “Adaptation and Intertextuality, or, What isn’t an Adaptation, What Does It Matter?” A Companion to Literature, Film, and Adaptation. Ed. Deborah Cartmell. Wiley-Blackwell, 2012. pp: 87-104.

Murray, Simone. The Adaptation Industry: The Cultural Economy of Contemporary Literary Adaptation. Routledge, 2012.



Each chapter should strictly abide by the word limit of 5000, including the endnotes, and the works cited. Endnotes should be preferred over footnotes. The body of the work should be organized under section titles where appropriate (such as Introduction, Theoretical Argument, Case Study, Conclusion, and the like). The chapters should follow the MLA 9th edition formatting.

Only contributors who hold PhD degrees and have institutional affiliations will be considered.

The book is under consideration by a major international publisher, which will be announced at a later date.

The proposed chapters have been outlined. Prospective contributors could make a selection from the outline, but they are also welcome to propose works not listed, should they fall within the scope of the volume. The criteria for consideration are threefold: 1. adaptations for the screen or for the TV, 2. adaptations pertaining to the 21st century, and 3. adaptations produced outside of the UK.

Contributors are expected to send an abstract of 300 words and a short biographical note of 150 words (written in the 3rd person) by the submission deadline.

For all inquiries and submissions, please contact: adaptingfrankenstein@gmail.com



Schedule

Deadline for Abstract Submission: December 1, 2025

Notification of Acceptance: December 31, 2025

Deadline for Chapter Submission: March 1, 2026

Anticipated Publication Date: Summer 2026



Provisional Outline

Preface

Introduction: “Reimagining Frankenstein on Screen and on Television”

USA: The Angry Black Girl and Her Monster (2023)

Blending science-fiction and horror, reversing/resisting stereotypes.

USA: Guillermo Del Toro’s Frankenstein (Nov. 2025)

Blending folklore, horror, and humanism, rewriting monstrosity.

USA: The Bride (Mar. 2026)

Reimagining gender, agency, and monstrosity.

German Refractions

Post-WWII memory, horror, and monstrous embodiment.

Hungarian Perspectives
Cultural reinterpretations of the myth.
South Korean Adaptations

Ethical dilemmas of biotechnology and societal anxieties.

Canadian Reconsideration: Dead Lover (2025)
Revisiting horror traditions through a modern lens.
Spanish Postmodernism

Fragmented narratives and existential dread in the contemporary context.

Nordic / Dutch Representations

Blending folklore and bioethics through cinematic interpretations.

Mexican Horror
Gender, monstrosity, and social marginalization in horror.
South American Gothic

Exploring racial and environmental tensions through a Frankenstein-inspired narrative.

New Zealand Horror: Marama (2025)
Representing Maori Gothic fiction.
Japanese Cyber-Gothic

Technology, identity, and the body through animation.

Australian Adaptations

Interpreting indigenous perspectives and ecological themes.

Turkish Adaptation

Frankenstein as metaphor for social alienation and modernization.

Eastern European Gothic

Post-Soviet cultural anxieties and the legacy of scientific hubris.
Czech Speculative Fiction: Ghoul (2015)

Reimagining the monster through speculative fiction.

Chinese Adaptation

Reimagining creation and consciousness.

Russian Adaptation

Modernity and the ethics of creation in Post-Soviet Russia.



For all inquiries and submissions, please contact: adaptingfrankenstein@gmail.com


Last updated October 19, 2025

UPDATE Frankensteinian Resonance: Transtemporal Reanimations in Fiction, Film, and Video (11/30/2025)

Updated CFP. Please note, this call has educational restrictions for applicants.

FRANKENSTEINIAN RESONANCE: Transtemporal Reanimations in Fiction, Film, and Video

deadline for submissions:
November 30, 2025

full name / name of organization:
Assoc. Prof. Ela İpek Gündüz, Gaziantep University, Turkey & Dr. Ercan Gürova, Ankara University, Turkey

contact email:
frankensteinianresonance@gmail.com

source: https://call-for-papers.sas.upenn.edu/cfp/2025/07/29/frankensteinian-resonance-transtemporal-reanimations-in-fiction-film-and-video

Call for Book Chapters

Frankensteinian Resonance: Transtemporal Reanimations in Fiction, Film, and Video

“Under Strong Interest” by Palgrave Macmillan

Editors’ Introduction

Considering the still resonating waves of Mary Shelley’s timeless novel Frankenstein; or the Modern Prometheus (1818), due to its conveying the notions, issues, and messages which are both relevant to current times, and as a reflection of its own time, ‘Frankenstein’ continues to be a very appealing trope, phenomenon or myth. The very idea of “humaneness” is speculated continuously due to the embeddedness of the “Frankenstein” the creator, the monster, and the novel itself, including its writer, within the literary and cultural landscape. It is an undeniable fact that it has been perpetually remembered and reinvented due to its uniqueness, even in the 21st century, prompting producers to adapt it. Yet, how it affects, appeals to, finds correspondences with, and elicits reactions or appreciations may be varied. Nevertheless, regardless of this differentiation in both the re-handlings and/or remembering, as well as the responses, the very speciality of the text remains visible. Notwithstanding the conventions of the genres or the adaptation mediums, as a very special text, Frankenstein transgresses the socio-cultural and even spatio-temporal boundaries that pave the way for the appreciation of contemporary readers and/or audiences.

The proposed edited volume, Frankensteineian Resonance: Transtemporal Reanimations in Fiction, Film, and Video, seeks to provide a rigorous, interdisciplinary exploration of how the Frankenstein mythos continues to evolve, adapt, and resonate across contemporary media landscapes. The volume thus proposes Frankenstein as a transtextual and transtemporal entity, a metaphorical conduit through which trauma, memory, identity, and otherness are endlessly renegotiated. It examines how contemporary rewritings and adaptations, spanning various genres and platforms, reveal the persistence of Frankensteinian concerns with artificial life, the ethics of creation, and the blurred boundaries between human and nonhuman. By assembling approximately 20 original chapters that analyse iconic novels, films, video games, and theatrical adaptations through transtemporal lenses, this collection aims to contribute to Gothic studies, adaptation theory, science fiction criticism, and broader discussions on the posthuman condition. Contributions will be selected through an open international call targeting scholars in literature, film, and cultural studies with PhDs or equivalent credentials.

Each contributor will offer a close and original analysis of a novel, film, or media work that actively reimagines the Frankenstein myth. Rather than adopting a purely descriptive approach, each chapter will develop a coherent and critical argument, connecting the selected work to key interpretive frameworks, such as monstrosity, hybridity, technological creation, identity fragmentation, and moral ambiguity.

Contributors will be asked to choose a specific fictional or cinematic text and engage it through relevant theoretical and cultural lenses. While the exact titles and authors of the chapters will be finalised after the acceptance of proposals, all chapters will be unified by the volume’s overarching interest in Frankenstein as a resonant, reconfigurable myth that speaks to evolving human concerns.

Please choose one of the topics listed below as the focus of your chapter. Proposals should clearly identify the selected work (novel, film, or media) and your theoretical framework.



Part I - Literary Re-Visitations/ Rewritings

1-Frankenstein Unbound (1973) by Brian W. Aldiss

2-The Frankenstein Papers (1986) by Fred Saberhagen

3-Poor Things (1992) by Alasdair Gray [Accepted]

4-The Memoirs of Elizabeth Frankenstein (1995) by Theodore Roszak [Accepted]

5-The Casebook of Victor Frankenstein (2008) by Peter Ackroyd

6-Frankenstein in Baghdad (2013) by Ahmed Saadawi

7-Frankissstein: A Love Story (2019) by Jeanette Winterson[Accepted]

8-Heart of a Dog (1925) by Mikhail Bulgakov [Accepted]

9-Golem (1915) by Gustav Meyrink

10-The Sandman (1816) by E.T.A Hoffmann



Part II- Movie/ Theatre/Video Game Adaptations



1-Frankenstein (1931) & Bride of Frankenstein (1935) – Dir. James Whale

2-The Curse of Frankenstein (1957) – Dir. Terence Fisher [Accepted]

3-Young Frankenstein (1974) – Dir. Mel Brooks[Accepted]

4-Mary Shelley’s Frankenstein (1994) – Dir. Kenneth Branagh

5-Frankenstein (2004) – Dir. Marcus Nispel

6-Victor Frankenstein (2015) – Dir. Paul McGuigan [Accepted]

7-Frankenstein (2015) – Dir. Bernard Rose

8-The Frankenstein Chronicles (2015–2017) – ITV Series

9-Frankenstein (1981) – by Victor Gialanella

10-Frankenstein – Playing with Fire (1988) – by Barbara Field

11-Frankenstein (2007) – by Nick Dear, directed by Danny Boyle

12-Frankenstein (2017) a musical theatre adaptation by Eric B. Sirota

13-Frankenstein: Through the Eyes of the Monster (1995)

14-Frankenstein: Master of Death (2015)

15-Frankenstein: Beyond the Time (2016)

16-Frankenstein Wars (2017)

17-Poor Things (2023)



Submission Details and Timeline

Please send a 300–500 word abstract describing the proposed chapter’s theory/framework, contributions, and structure, and a brief bio (100–150 words) to frankensteinianresonance@gmail.com

The abstract submission deadline is November 30, 2025.

Submission of Complete Chapters (for selected abstracts): March 30, 2026.

Final chapters will be expected to be around 5500-6000 words, in English, and referenced in MLA 9 style.

The book is expected to be published in late 2026, following peer review and editorial revisions.

All submissions will undergo a rigorous double-blind peer-review process.

For inquiries and questions, please feel free to contact us at frankensteinianresonance@gmail.com



Editors: Assoc. Prof. Ela İpek Gündüz, Gaziantep University, Turkey

Dr. Ercan Gürova, Ankara University, Turkey



Last updated October 24, 2025

Available for Preorder - Cook's Frankenstein Retold

Just saw notice of this on Cook's LinkedIn account. The cover image is from there as well.

Frankenstein Retold: Literary Adaptation in Contemporary Fiction

Daniel Cook (Author)

Full details and ordering information at https://www.bloomsbury.com/us/frankenstein-retold-9781350501959/. 

Product details

Published Apr 16 2026

Format Hardback

Edition 1st

Extent 240

ISBN 9781350501959

Imprint Bloomsbury Academic

Dimensions 9 x 6 inches

Series Gothic Legacies

Publisher Bloomsbury Publishing

 

Description

Placing Frankenstein in the critical frameworks of book history and secondary authorship, this book explores the increasing array of book-based reworkings of, and sequels to, the novel that up to this point, have been largely ignored. Covering novels, novellas and short stories across a range of genres from romance to YA fiction, Frankenstein Retold examines a broad range of these texts in different purviews and demonstrates their own critical value as well and pertinence for understanding new approaches to literary adaptation in theory and practice more broadly. Organised thematically, the book cover topics including: filial characterisation; continuations and sequels explicitly tied to Shelley's narrative; epistolary, journal-based, found-text and other storytelling forms; coquels set against the original material; fiction in which Shelley's materials have been transplanted to entirely new settings, periods or genres; cameos; and the ghostly presence of the original author. A testament to the vitality of the original story more than two centuries after it first appeared, Daniel Cook explores works from a huge range of writers such as Peter Ackroyd, Jeanette Winterson, Ahmed Saadawi, Suzanne Weyne, Jon Skovron, William A. Chandler, Susan Heyboer Okeefe, Hailey Bailey, Laurie Sheck, Edward M. Erdelac, Fred Saberhagen and Kate Horsley among many others. With a large body of scholarship already exploring the rich cinematic, transmedial and cultural afterlife of Shelley's novel, Frankenstein Retold offers a bridge between literary studies notions of book history and authorship, and media studies approaches to transmedia storytelling, between fan writing and media production histories.

Table of Contents

Preface

Introduction

New and Hybrid Species

Retelling Tales in Theory and Practice Frankensteinian Retellings Frankenstein Retold: A User's Guide

Chapter 1. New Beginnings

The Answering Novel: Frankenstein Unbound

The Teller and the Tale: Frankissstein

Chapter 2. The Literary Redo

The Strange Casebook

The Turning Pages: A Monster's Notes

When a Monster Calls: Monster and The Frankenstein Papers

Chapter 3. Sequels and Prequels

The Frankenstein Sequel Becoming Victor

Chapter 4. Brides Revisited

Half-Finished Brides

Survivors: Pandora's Bride and Born of the Sea

Chapter 5. Orcadian Coquels

The Bride-to-be: The Monster's Wife

The Restless Bride of Eynhallow

Chapter 6. Patchwork Things

The Twice-Told Tale: Poor Things

M/S: Patchwork Girl

Chapter 7. Old Endings

The Under-Story of Elizabeth Frankenstein Unnatural Women

Frankenstein's Daughters

Afterword: The Modern Deucalion

Bibliography

Index

About the Author

Daniel Cook is Associate Dean and Reader in English Literature at the University of Dundee, UK. He is the author of Walter Scott and Short Fiction (2021), Reading Swift’s Poetry (2020), and Thomas Chatterton and Neglected Genius, 1760-1830 (2013). His most recent books include The Cambridge Companion to Gulliver's Travels, with Nicholas Seager (2023), Gulliver’s Travels: The Norton Library (2023), Scottish Poetry, 1730-1830 (2023), and Austen After 200: New Reading Spaces, with Annika Bautz and Kerry Sinanan (2022).

CFP Frankensteinian Resonance: Transtemporal Reanimations in Fiction, Film, and Video (11/30/2025)

Frankensteinian Resonance: Transtemporal Reanimations in Fiction, Film, and Video

deadline for submissions:
November 30, 2025

full name / name of organization:
Assoc. Prof. Ela İpek Gündüz, Gaziantep University, Turkey & Dr. Ercan Gürova, Ankara University, Turkey

contact email:
frankensteinianresonance@gmail.com

source: https://call-for-papers.sas.upenn.edu/cfp/2025/07/29/frankensteinian-resonance-transtemporal-reanimations-in-fiction-film-and-video

Call for Book Chapters

Frankensteinian Resonance: Transtemporal Reanimations in Fiction, Film, and Video

“Under Strong Interest” by McFarland’s Critical Explorations in Science Fiction and Fantasy series

Editors’ Introduction

Considering the still resonating waves of Mary Shelley’s timeless novel Frankenstein; or the Modern Prometheus (1818), due to its conveying the notions, issues, and messages which are both relevant to current times, and as a reflection of its own time, ‘Frankenstein’ continues to be a very appealing trope, phenomenon or myth. The very idea of “humaneness” is speculated continuously due to the embeddedness of the “Frankenstein” the creator, the monster, and the novel itself, including its writer, within the literary and cultural landscape. It is an undeniable fact that it has been perpetually remembered and reinvented due to its uniqueness, even in the 21st century, prompting producers to adapt it. Yet, how it affects, appeals to, finds correspondences with, and elicits reactions or appreciations may be varied. Nevertheless, regardless of this differentiation in both the re-handlings and/or remembering, as well as the responses, the very speciality of the text remains visible. Notwithstanding the conventions of the genres or the adaptation mediums, as a very special text, Frankenstein transgresses the socio-cultural and even spatio-temporal boundaries that pave the way for the appreciation of contemporary readers and/or audiences.

The proposed edited volume, Frankensteineian Resonance: Transtemporal Reanimations in Fiction, Film, and Video, seeks to provide a rigorous, interdisciplinary exploration of how the Frankenstein mythos continues to evolve, adapt, and resonate across contemporary media landscapes. The volume thus proposes Frankenstein as a transtextual and transtemporal entity, a metaphorical conduit through which trauma, memory, identity, and otherness are endlessly renegotiated. It examines how contemporary rewritings and adaptations, spanning various genres and platforms, reveal the persistence of Frankensteinian concerns with artificial life, the ethics of creation, and the blurred boundaries between human and nonhuman. By assembling approximately 20 original chapters that analyse iconic novels, films, video games, and theatrical adaptations through transtemporal lenses, this collection aims to contribute to Gothic studies, adaptation theory, science fiction criticism, and broader discussions on the posthuman condition. Contributions will be selected through an open international call targeting scholars in literature, film, and cultural studies with PhDs or equivalent credentials.

Each contributor will offer a close and original analysis of a novel, film, or media work that actively reimagines the Frankenstein myth. Rather than adopting a purely descriptive approach, each chapter will develop a coherent and critical argument, connecting the selected work to key interpretive frameworks, such as monstrosity, hybridity, technological creation, identity fragmentation, and moral ambiguity.

Contributors will be asked to choose a specific fictional or cinematic text and engage it through relevant theoretical and cultural lenses. While the exact titles and authors of the chapters will be finalised after the acceptance of proposals, all chapters will be unified by the volume’s overarching interest in Frankenstein as a resonant, reconfigurable myth that speaks to evolving human concerns.

Please choose one of the topics listed below as the focus of your chapter. Proposals should clearly identify the selected work (novel, film, or media) and your theoretical framework.



Part I - Literary Re-Visitations/ Rewritings

1-Frankenstein Unbound (1973) by Brian W. Aldiss

2-The Frankenstein Papers (1986) by Fred Saberhagen

3-Poor Things (1992) by Alasdair Gray

4-The Memoirs of Elizabeth Frankenstein (1995) by Theodore Roszak

5-The Casebook of Victor Frankenstein (2008) by Peter Ackroyd

6-Frankenstein in Baghdad (2013) by Ahmed Saadawi

7-Frankissstein: A Love Story (2019) by Jeanette Winterson

8-Heart of a Dog (1925) by Mikhail Bulgakov

9-Golem (1915) by Gustav Meyrink

10-The Sandman (1816) by E.T.A Hoffmann



Part II- Movie/ Theatre/Video Game Adaptations



1-Frankenstein (1931) & Bride of Frankenstein (1935) – Dir. James Whale

2-The Curse of Frankenstein (1957) – Dir. Terence Fisher

3-Young Frankenstein (1974) – Dir. Mel Brooks

4-Mary Shelley’s Frankenstein (1994) – Dir. Kenneth Branagh

5-Frankenstein (2004) – Dir. Marcus Nispel

6-Victor Frankenstein (2015) – Dir. Paul McGuigan

7-Frankenstein (2015) – Dir. Bernard Rose

8-The Frankenstein Chronicles (2015–2017) – ITV Series

9-Frankenstein (1981) – by Victor Gialanella

10-Frankenstein – Playing with Fire (1988) – by Barbara Field

11-Frankenstein (2007) – by Nick Dear, directed by Danny Boyle

12-Frankenstein (2017) a musical theatre adaptation by Eric B. Sirota

13-Frankenstein: Through the Eyes of the Monster (1995)

14-Frankenstein: Master of Death (2015)

15-Frankenstein: Beyond the Time (2016)

16-Frankenstein Wars (2017)

17-Poor Things (2023)



Submission Details and Timeline

Please send a 300–500 word abstract describing the proposed chapter’s theory/framework, contributions, and structure, and a brief bio (100–150 words) to frankensteinianresonance@gmail.com

The abstract submission deadline is November 30, 2025.

Submission of Complete Chapters (for selected abstracts): March 30, 2026.

Final chapters will be expected to be around 5500-6000 words, in English, and referenced in MLA 9 style.

The book is expected to be published in late 2026, following peer review and editorial revisions.

All submissions will undergo a rigorous double-blind peer-review process.

For inquiries and questions, please feel free to contact us at frankensteinianresonance@gmail.com



Editors: Assoc. Prof. Ela İpek Gündüz, Gaziantep University, Turkey

Dr. Ercan Gürova, Ankara University, Turkey



Last updated August 4, 2025

CFP Frank*ology, or the Thoroughly Modern Prometheus: A Re-vision of Sensualities in Romanticism from Mary Shelley’s Frankenstein (virtual conference) (9/15/2025; online 11/21/2025)

Frank*ology, or the Thoroughly Modern Prometheus: A Re-vision of Sensualities in Romanticism from Mary Shelley’s Frankenstein (virtual conference)

deadline for submissions:
September 15, 2025

full name / name of organization:
West of Canon Press

contact email:
editor@westofcanon.com

source: https://call-for-papers.sas.upenn.edu/cfp/2025/06/24/frankology-or-the-thoroughly-modern-prometheus-a-re-vision-of-sensualities-in



Frank*ology, or the Thoroughly Modern Prometheus: A Re-vision of Sensualities in Romanticism from Mary Shelley’s Frankenstein (virtual conference)



West of Canon Press seeks papers and presentations on Frankenstein from academics, artists, and folks across disciplines for a virtual conference celebrating the long legacy of this incredible book. We are looking for academic style papers as well as creative responses to Frankenstein and its related media.



A non-comprehensive list of what we’re hoping to see and include:

• Transgender identity (specifically transmasculinities) in Frankenstein and other works by the Romantics.
• Lake Geneva studies- Looking at Shelley-adjacent Romantics in a different light (discussions of polyamory and free love welcome.).
• The poetics of monstrosity
• Incest and queerness in Frankenstein
• Disability studies and Frankenstein
• Indigiqueer and racialized perspectives on Frankenstein
• Cinematic depictions of the creature, including Karloff, Warhol, Zelda Williams, Hammer Horror, James Whale etc.
• Theatre, music, and dance iterations of Frankenstein.
• Adaptations and responses ie. Frank Kiss Stein, Ex Machina, Penny Dreadful, Wallace and Gromit and the Curse of the Were-Rabbit, Frankenstein in Baghdad, Junji Ito’s manga, Young Frankenstein, Danny Boyle’s stage adaptation with Benedict Cumberbatch
• Guillermo del Toro’s longstanding love affair with Frankenstein.
• Nautical queerness, eco-queerness and homoeroticism in Frankenstein
• The epistolary
• Phenomenology
• The cadaver and the soul; complicating ‘new life’ in Frankenstein via crime, race, religion etc.
• Filmic lore about Frankenstein which is parallel to canon but taken as truth; peg necks, Elizabeth as the Bride etc.
• Everyone’s Met Frankenstein: Frankenstein’s pop culture encounters with The Munsters, Scooby-Doo, Abbott and Costello, Alvin and the Chipmunks etc.
• Mary Shelley and Percy Shelley
• Frankenstein and queer collaboration.
• Mental Illness and neurodiversity.
• Frankenstein, editorial processes, and collaboration.
• Artificial Intelligence as Adam
• Short stories, poems, plays, songs, dance, art-works, etc.,

The conference will hopefully conclude with a viewing of Guillermo del Toro’s new adaptation of the work, which Netflix says is scheduled for November of this year, but we will have a firm date of Friday November 21, 2025. CV, artist’s statement, and abstracts of 200-500 words for a 20 minute presentation, panel or creative project can be sent to Oscar Anderson at editor@westofcanon.com by September 15. 

While we’re not requiring content warnings for abstracts, please inform ahead if there’s any part of your presentation or abstract that flashes and/or contains bright light.


Last updated June 26, 2025

Recent Publication - A Vindication of Monsters: Essays on Mary Wollstonecraft and Mary Shelley (2023)

Sorry to have missed this earlier.

Non-Fiction Title: A Vindication of Monsters: Essays on Mary Wollstonecraft and Mary Shelley

Publisher site: https://ifwgpublishing.com/non-fiction-title-a-vindication-of-monsters-essays-on-mary-wollstonecraft-and-mary-shelley/.

In 1797 an extraordinary visionary died, leaving behind a grieving husband, a two-year-old daughter, and a newborn. The woman was Mary Wollstonecraft, her daughter Fanny Imlay, and her baby Mary Godwin, who, through many trials and tribulations, grew up to become the remarkable Mary Shelley, creator of one of the most important books in literature: Frankenstein; Or, The Modern Prometheus.

While many books have examined both women’s lives, their remarkable similarities, their passions, joys, and their grief, A Vindication of Monsters: Essays on Mary Wollstonecraft and Mary Shelley, delves deeper into the stories behind both women, their connections to historical events, society, their philosophies, and their political contributions to their time. These essays and memoirs explore Mary Wollstonecraft, Mary Shelley, and Shelley’s circle of friends, including her husband, the capricious poet Percy Shelley; the libertine Romantic Lord Byron; the first modern vampire author John Polidori; and other contemporary creatives who continue to be inspired by both women today.

Contents:

Preface by Sara Karloff, actress and Boris Karloff’s daughter
Introduction (‘Examining Frankenstein’) by Leslie S. Klinger (editor of the highly-acclaimed New Annotated Frankenstein)
Foreword by Lisa Morton, six-time Bram Stoker Award® winner
‘In His Eyes Our Own Yearning: Seeing Mary Shelley and Her Creature’ by Nancy Holder
‘The Maker Remade: Mary Shelley In Fiction’ by Matthew R Davis
‘Beauty And The Grotesque’ by Michele Brittany
‘Mary Shelley And The World Of Monsters’ by Rob Hood
‘An Articulation Of Beauty In The Film ‘Mary Shelley’s Frankenstein’’ by Donald Prentice Jr
‘Mapping The Collective Body Of Frankenstein’s Brides’ by Carina Bissett
‘Marys And Motherhood’ and Preamble by Claire Fitzpatrick
‘Don’t Feed The Monsters’ by Hk Stubbs
‘My Mother Hands Me A Book’ by Piper Mejia
‘A Bold Question: Consent And The Experimental Subject In Frankenstein’ by Octavia Cade
‘Mary Shelley And Percy Shelley’s Fascination With The Creation Myth And Sexual Androgyny’ by Ciarán Bruder
‘Mary Shelley’s Frankenstein And Revenge Killers’ by Anthony P Fergusson
‘Medicine And Mary Shelley’ by Grant Butler
‘Frankenstein’s Language Model’ by Jason Franks
‘Mary Shelley: Pandemics, Isolation, And Writing’ by Lee Murray
‘Mary W And Mary S: A Story With Objects’ by Lucy Sussex

A comprehensive essay on the motivations and content of this book by the editor, Claire Fitzpatrick (in Ginger Nuts of Horror).

A Vindication of Monsters: Essays on Mary Wollstonecraft and Mary Shelley

Edited by Claire Fitzpatrick
Non-Fiction
English language
ISBN: 978-1-922856-40-1 (print)
978-1-922856-41-8 (ebook)
RRP: US$16.99 (US$6.99 ebook)
Publisher: IFWG Publishing International
252 pages – paperback, English
Binding: Perfect bound
Dimensions: 229mm x 152mm
eBook and Print Formats: Amazon, Barnes and Noble, iBook
Key Words: Non-fiction; Mary Wollstonecraft; Mary Shelley; essays; gothic literature; horror; literature;
Publication Date: 15 October 2023 (global release)
Distributor: World-wide through IPG (IPG specific in North America, NewSouth Books (partner) in Australia/New Zealand, and UID(Marsden/Eurospan) in UK/Europe)

CFP Mary Shelley Today: *Frankenstein* in the Twenty-First Century (2/1/2025)

Mary Shelley Today: *Frankenstein* in the Twenty-First Century

deadline for submissions:
February 1, 2025

full name / name of organization:
Timothy Ruppert and Danette DiMarco

contact email:
timothy.ruppert@sru.edu

source: https://call-for-papers.sas.upenn.edu/cfp/2024/12/26/mary-shelley-today-frankenstein-in-the-twenty-first-century

Mary Shelley Today: Frankenstein in the Twenty-First Century seeks to reevaluate the influence of Mary Shelley, and particularly her most prominent novel, on literature and imaginative work of the last quarter century (defined as 1999-2024). This project engages with works and authors on whom little has been written to date in the hope of providing exciting new resources for Romanticists and general readers alike.

We seek contributions between 4,500-6,500 words. While we do not wish to delimit authors in terms of focus, we will give special preference to scholarship on undertreated works and writers, for example, Seanan McGuire’s Down Among the Sticks and Bones (2017), Theodora Goss’s The Strange Case of the Alchemist’s Daughter (2017), Kiersten White’s The Dark Descent of Elizabeth Frankenstein (2018), John Kessel’s Pride and Prometheus (2018), Ahmed Saadawi’s Frankenstein in Baghdad (trans. 2018), and Jennifer McMahon’s The Children on the Hill (2022). We are also interested in reinterpretations of Frankenstein in other genres, including works such as the Japanese manga series Fullmetal Alchemist,cinematic products such as Larry Fessenden’s 2019 Depraved or the Doctor Who episode ‘The Haunting of Villa Diodati’ (2020), or stage plays such as Eric Sirota’s musical adaptation of Frankenstein (2017). Please note that we already have a chapter concerning Peter Lovesey’s 1999 novel, The Vault, and so will not accept submissions exclusively concerning that work.

Please submit a 500/1,000-word proposal along with your contact information and a biographical note (up to 200 words) to both co-editors by 1 February 2025. Further details on style and formatting will be provided to prospective contributors upon acceptance.

Accepted contributors should plan to submit complete book chapters (4,500/6,500 words, including references and footnotes) by 1 August 2025.

This volume is already under contract to a leading academic publisher, so the manuscript will likely go for peer review in late 2025. The projected publication date is 2026. Please contact both Danette DiMarco (danette.dimarco@sru.edu) and Timothy Ruppert (timothy.ruppert@sru.edu) with any questions.



Last updated January 2, 2025

CFP Hideous Progenies: Adulterous Adaptations of Frankenstein in the 21st-Century (7/1/2024)

Hideous Progenies: Adulterous Adaptations of Frankenstein in the 21st-Century

deadline for submissions: 

July 1, 2024

full name / name of organization: 

Kyle William Bishop

contact email: 

bishopk@suu.edu

source:https://call-for-papers.sas.upenn.edu/cfp/2024/05/30/hideous-progenies-adulterous-adaptations-of-frankenstein-in-the-21st-century

With the commercial and critical success of Yorgos Lanthimos’s Poor Things (2023), I am assembling a collection of scholarly essays that will explore additional unfaithful 21st-century adaptations (in various media) of Mary Shelley’s 1818 masterpiece, Frankenstein. Taking a page from Thomas Leitch’s idea of the “Ethics of Infidelity,” I propose that investigating the longevity of Shelley’s essential story (the overreacher plot coupled with an animated or re-animated creature) as translated into a variety of “adulterous adaptations” would demonstrate how the plot, structure, character types, themes, etc. of Frankenstein transcend mere faithful adaptations to become increasingly relevant to different (modern) audiences.

My recent internet and database searches for “unfaithful adaptations of Frankenstein” produced few results, as most popular and scholarly studies of Frankenstein adaptations are more interested in the more faithful (if not most faithful) adaptations. This anthology would thus break new academic ground in terms of both Frankenstein studies and adaptation studies by collecting scholarly approaches to non-faithful adaptations of Frankenstein in all kinds of media that have appeared over the past two decades, the focus being (1) a lack of adaptive fidelity and (2) newer adaptations and texts that may have yet to be given the scholarly treatment.

I see the adulterous adaptations of any work falling into two broad categories: overt and thematic. The overt adaptations, in my mind, use similar if not the same characters as Shelley undertaking tasks and having experiences somewhat similar to the novel, all with an overt in-text reference to “Frankenstein” along the way. These text would include

● The Casebook of Victor Frankenstein (2008) by Peter Ackroyd

● Frankenweenie (2012) from Tim Burton

● Penny Dreadful (2014–2016) from John Logan

● The Frankenstein Chronicles (2015–2017) from Barry Langford and Benjamin Ross

● Destroyer (2018) by Victor LaValle and Dietrich Smith

● The Dark Descent of Elizabeth Frankenstein (2019) by Kiersten White

● Angelika Frankenstein Makes Her Match (2023) by Sally Thorne

● Lisa Frankenstein (2024) from Zelda Williams

The second category of adaptations are even less faithful works, “inspirations” or “essences” based on the themes and some plot points from Frankenstein, such as

● Frankenstein in Baghdad (2013) by Ahmed Saadawi

● Ex Machina (2014) from Alex Garland

● Avengers: Age of Ultron (2015) from Joss Whedon

● Patchwork (2015) from Tyler MacIntyre

● Westworld (2016–2022) from Lisa Joy and Jonathan Nolan

● Blade Runner 2049 (2017) from Denis Villeneuve

● Depraved (2019) from Larry Fessenden

● The Angry Black Girl and Her Monster (2023) from Bomani J. Story

● Poor Things (2023) from Yorgos Lanthimos

These diverse works all demonstrate the ongoing significance of Shelley’s novel—as antecedent, source material, inspiration, or pastiche—and illustrate how her tale has almost become a subgenre of Gothic horror unto itself, evolving and changing to reflect the most pressing cultural anxieties and concerns of the current century.

My goal with this collection is to present breadth and variety, and so I would prefer to have as many texts represented with as little overlap as possible. To that end, I am welcoming proposals on any literary or filmic work with clear thematic ties to Shelley’s original Frankenstein novel (especially those listed above) that have appeared over the past decade or so.

Proposals must include

● a 200–250 word title and abstract of the suggested chapter,

● a loose working bibliography of both primary and secondary sources, and

● a brief statement of qualifications, focusing on relevant scholarly production.

Please email proposals to bishopk@suu.edu no later than July 1, 2024—and I welcome multiple submissions to facilitate breadth and lack of overlap.

Who Am I?

In terms of Frankenstein, I have taught the novel numerous times in upper-division courses on Gothic literature, literary adaptations (dedicating an entire course to the subject for the bicentennial 2018 year), and a study abroad summer program to Ingolstadt, Geneva, and Chamonix in 2016. I have also written and published two articles on Frankenstein:

● “The Subaltern Brides of Frankenstein: Liberating Shelley’s Unrealized Female Creature on Screen.” Creolizing Frankenstein, edited by Michael Paradiso-Michau, Rowman & Littlefield International, 2024, pp. 83–99.

● “The Frankenstein Complex on the Small Screen: Mary Shelley’s Motivic Novel as Adjacent Adaptation.” Adapting Frankenstein: The Monster’s Eternal Lives in Popular Culture, edited by Dennis Cutchins and Dennis R. Perry, Manchester UP, 2018, pp. 111–127.

I also presented “From Prometheus to Pygmalion to Pandora: The Feminist Threat of Frankenstein’s ‘Dark Brides’” at the 2024 Northeast Modern Language Association annual conference, and I am developing that article for publication with Michael Torregrossa.

In terms of editing, I have three co-edited collections under my belt, two scholarly volumes and a special issue of a journal:

● The Post Zombie: The Current and Future State of the Living Dead. Co-edited with C. Wylie Lenz and Angela Tenga, McFarland, 2024. [forthcoming this fall]

● The Written Dead: Essays on the Literary Zombie. Co-edited with Angela Tenga, McFarland, 2017.

● After/Lives: What’s Next for Humanity. Special edition of the Journal of the Fantastic in the Arts, co-edited with Sarah Juliet Lauro, vol. 25, nos. 2–3, 2014.

In addition to being on the Editorial Advisory Board for the Journal in the Fantastic in the Arts, I have also served as a peer reviewer for over two dozen journals, over a dozen book proposals, and two doctoral dissertations for international graduate programs.

This CFP has been viewed 1,036 times.

New from Bloomsbury Academic - Peggy Webling and the Story behind Frankenstein: The Making of a Hollywood Monster

Peggy Webling and the Story behind Frankenstein: The Making of a Hollywood Monster

Peggy Webling (Author) , Dorian Gieseler Greenbaum (Author) , Bruce Graver (Author)

Ordering information available at https://www.bloomsbury.com/us/peggy-webling-and-the-story-behind-frankenstein-9781350371651/. Available in print (hardcover and paperback) and as an ebook. 

Product details

Published Apr 18 2024

Edition 1st

Extent 344

Imprint Bloomsbury Academic

Illustrations 15 bw illus

Dimensions 9 x 6 inches

Publisher Bloomsbury Publishing

Description

The 1931 Universal Pictures film adaptation of Frankenstein directed by James Whale and starring Boris Karloff as the now iconic Monster claims in its credits to be 'Adapted from the play by Peggy Webling'.

Webling's play sought to humanize the creature, was the first stage adaptation to position Frankenstein and his creation as doppelgängers, and offered a feminist perspective on scientific efforts to create life without women, ideas that suffuse today's perceptions of Frankenstein's monster. The original play script exists in several different versions, only two of which have ever been consulted by scholars; no version has ever been published. Nor have scholars had access to Webling's private papers and correspondence, preserved in a family archive, so that the evolution of Frankenstein from book to stage to screen has never been fully charted.

In Peggy Webling and the Story behind Frankenstein, Dorian Gieseler Greenbaum (Webling's great grandniece) and Bruce Graver present the full texts of Webling's unpublished play for the first time. A vital critical edition, this book includes:

- the 1927 British Library Frankenstein script used for the first production of the play in Preston, Lancashire

- the 1928 Frankenstein script in the Library of Congress, used for productions in UK provincial theatres from autumn 1928 till 1930

- the 1930 Frankenstein Prompt Script for the London production and later provincial performances, held by the Westminster Archive, London

- Webling's private correspondence including negotiations with theatre managers and Universal Pictures, family letters about the writing and production process, and selected contracts

- Text of the chapter 'Frankenstein' from Webling's unpublished literary memoir, The Story of a Pen for additional context

- Biography of Webling that bears directly on the sensibilities and skills she brought to the writing of her play

- History of how the play came to be written and produced

- The relationship of Webling's play to earlier stage and film adaptations

- An exploration of playwright and screenwriter John L. Balderston's changes to Webling's play and Whale's borrowings from it in the 1931 film

Offering a new perspective on the genesis of the Frankenstein movie, this critical exploration makes available a unique and necessary 'missing link' in the novel's otherwise well-documented transmedia cultural history.

Table of Contents

List of Illustrations

Acknowledgements

Introduction

Part I History and Commentary

Chapter 1 Peggy Webling's Story

Chapter 2 The Other Woman who Created Frankenstein

Chapter 3 From Peake to Whale, and Webling's Missing Link

Part II Texts of Webling's Frankenstein

1927 Version, registered with the Lord Chamberlain on 25 November 1927

1928 Version, copyrighted with the US Library of Congress on 7 September 1928

1930 Prompt Script, performed in London 10 February–12 April 1930

Appendix 1 Excerpts from Webling Letters concerning Frankenstein

Appendix 2 Excerpt from Webling's Unpublished Memoir, The Story of a Pen

Appendix 3 Contracts

Bibliography General Bibliography

Sources from the Webling Archive

Index

Author Information

Peggy Webling (1 January 1871 – 27 June 1949) was a British playwright, novelist and poet.

Dorian Gieseler Greenbaum is a historian specialising in the history of astrology, cosmology and divination. She is the great-grandniece of Peggy Webling, the playwright, and holds a private archive of her papers. She has lectured on the history of Webling’s Frankenstein for specialists and general audiences.

Bruce Graver is Professor of English at Providence College, USA where is a specialist in British Romantic literature. He edited Wordsworth’s Translations of Chaucer and Virgil (1998), co-edited Wordsworth and Coleridge’s Lyrical Ballads (2003), and contributed many chapters to edited collections as well as writing and lecturing widely about various British Romantic writers, including Mary Shelley.

Out Now - Afterlives of Frankenstein

The Afterlives of Frankenstein: Popular and Artistic Adaptations and Reimaginings

Robert I. Lublin (Anthology Editor) , Elizabeth A. Fay (Anthology Editor)

Publisher site: https://www.bloomsbury.com/us/afterlives-of-frankenstein-9781350351561/.

Product details

Published Feb 22 2024
Format Hardback
Edition 1st
Extent 248
ISBN 9781350351561
Imprint Bloomsbury Academic
Illustrations Colour images
Dimensions 9 x 6 inches
Publisher Bloomsbury Publishing

Description

An exploration of the treatment of Mary Shelley's Frankenstein in popular art and culture, this book examines adaptations in film, comics, theatre, art, video-games and more, to illuminate how the novel's myth has evolved in the two centuries since its publication. Divided into four sections, The Afterlives of Frankenstein considers the cultural dialogues Mary Shelley's novel has engaged with in specific historical moments; the extraordinary examples of how Frankenstein has suffused our cultural consciousness; and how the Frankenstein myth has become something to play with, a locus for reinvention and imaginative interpretation. In the final part, artists respond to the Frankenstein legacy today, reintroducing it into cultural circulation in ways that speak creatively to current anxieties and concerns.

Bringing together popular interventions that riff off Shelley's major themes, chapters survey such works as Frankenstein in Baghdad, Bob Dylan's recent “My Own Version of You”, the graphic novel series Destroyer with its Black cast of characters, Jane Louden's The Mummy!, the first Japanese translation of Frankenstein, “The New Creator”, the iconic Frankenstein mask and Kenneth Brannagh's Mary Shelley's Frankenstein film. A deep-dive into the crevasses of Frankenstein adaptation and lore, this volume offers compelling new directions for scholarship surrounding the novel through dynamic critical and creative responses to Shelley's original.

Table of Contents

Introduction
Robert I. Lublin and Elizabeth A. Fay

Part 1: Cultural Reinventions

1. “Only from the future”: Frankenstein, The Mummy!, and the Ontology of Revolution, David Baulch (University of West Florida, USA)

2. Frankens-Time: Frankenstein and the Temporal Origins of Artificial Intelligence, Tobias Wilson-Bates (Georgia Gwinnett College)

3. Meiji Japan Responds to Frankenstein: The 1889-90 translation “The New Creator”, Tomoko Nakagawa (University of the Sacred Heart, Japan)

4. Frankenstein Goes Global: Returning the Necropolitical Gaze with Frankenstein in Baghdad, Hugh Charles O'Connell (University of Massachusetts Boston, USA)

Part 2: Frankensteinia

5. Frankenstein in the Popular Imagination, Sidney E. Berger (Simmons College, USA)

6. Frankenstein Mask: Perpetuating the Monster Assemblage, Taylor Hagood (Florida Atlantic University, USA)

7. Victor LaValle and Dietrich Smith's Graphic Novel Destroyer (2020), Andrew Shepherd (University of Utah, USA)

Part 3: Playing Frankenstein

8. Staging Mary Shelley in Contemporary Frankenstein Biodramas, Brittany Reid (Brock University, Canada)

9. The Evolving Myth of Frankenstein in Twenty-First-Century Film, Robert I. Lublin (University of Massachusetts Boston, USA)

10. The Water and the Corpse: Exploring Nature, Shelley's Echoes, and Twenty-First Century Cultural Anxieties in The Frankenstein Chronicles, Lorna Piatti-Farnell (Auckland University of Technology, New Zealand)

11. The Aesthetics of Digital Naturecultures in La Belle Games's The Wanderer: Frankenstein's Creature (2019), Andrew Burkett (Union College, USA)

Part 4: Artists Talk Back

12. A Monstrous Circus on Frankenstein: Mediating Shelley's Novel through John Cage's Multimedia Strategies, Miriam Wallace and R. L. Silver (New College of Florida, USA)

13. Frankenstein in Three Chords, Elizabeth A. Fay (University of Massachusetts Boston, USA) and James McGirr (Independent Scholar, USA)

14. From Frankenstein to Writing SciFi to Collage, Kate Hart (University of Massachusetts Boston, USA)

New Book - Creolizing Frankenstein

Creolizing Frankenstein

EDITED BY MICHAEL R. PARADISO-MICHAU

Publisher site: https://rowman.com/ISBN/9781538176559/Creolizing-Frankenstein.

Rowman & Littlefield Publishers
Pages: 414 • Trim: 6¼ x 9½
978-1-5381-7653-5 • Hardback • December 2023 • $130.00 • (£100.00)
978-1-5381-7655-9 • eBook • December 2023 • $50.00 • (£38.00)

Series: Creolizing the Canon

Creolizing Frankenstein dissects and critically appreciates Mary Shelley’s 200-year old novel. Contributors advance two claims: first, this story is the product of creolization—the intentional conglomeration of a variety of scientific, mythological, political, religious, gender, educational, historical, and racial discourses. Second, they trace the ways in which Frankenstein has creolized itself into modern and contemporary life and culture in such a way as to have become a new mythology and political statement for each generation. The contributors to this book place Frankenstein into productive conversation with such figures and fields as Frederick Douglass and slave narrative, Frantz Fanon and postcolonial theory, Afro-Caribbean Hispanophone and Francophone literature, nineteenth century labor history, the Black Radical Tradition, Trans studies, feminist theory, Marxism and critical social theory, film studies, music and media studies, Afro-futurism and African futurism, political theory, education theory, Gothic literary studies, and Africana philosophy.

Contributors: Kyle William Bishop, Persephone Braham, Alan M. S. J. Coffee, Emily Datskou,Garrett FitzGerald, Jeremy Matthew Glick, Jane Anna Gordon, Lewis R. Gordon, Raphael Hoermann, Elizabeth Jennerwein, Corey McCall, David McNally, Thomas Meagher, Michael R. Paradiso-Michau, Borna Radnik, Lindsey Smith, Amy Shuffelton, Jasmine Noelle Yarish, Elizabeth Young, Paul Youngquist.

Contents

Acknowledgments

Introduction: One Woman’s Text and a Critique of Colonialism

Michael R. Paradiso-Michau

Part I: Race, Gender, and Media

Chapter 1. Black Frankenstein at 200

Elizabeth Young

Chapter 2. Gender, Race, and Frankenstein’s Creature: A Creolized Reading and Decolonial Challenges

Lewis R. Gordon

Chapter 3. The Creation of Identity in Frankenstein and Man Into Woman

Emily Datskou

Chapter 4. Revolutionary Responsibility: Mothering a Monster

Jane Anna Gordon and Elizabeth Jennerwein

Chapter 5. The Subaltern Brides of Frankenstein: Liberating Shelley’s Unrealized Female Creature on Screen

Kyle William Bishop

Chapter 6. Creolization between Horror and Science Fiction: Get Out and the Era of a Third Reconstruction

Jasmine Noelle Yarish

Chapter 7. Funking with Victor: Toward a Genealogy of Revolutionary Desire

Paul Youngquist

Part II: Politics and History

Chapter 8. “You Call These Men a Mob”: Irish Rebels, Slave Insurrectionists, Luddite Martyrs, and the Monstrous Rebirth of the Wretched of the Earth

David McNally

Chapter 9. Frankenstein and Slave rrative: Race, Revulsion, and Radical Revolution

Alan M. S. J. Coffee

Chapter 10. “I have undertaken this vengeance”: Echoes of Race and Specters of Slave Revolt

Raphael Hoermann

Chapter 11. The Creature’s Creole Education

Amy B. Shuffelton

Chapter 12. Hideous Aspects: Decolonial Barbarism and the Epistemic Politics of Mary Shelley’s Frankenstein

Garrett FitzGerald

Part III: Literature, Theory, and Culture

Chapter 13. Galvanic Awakenings: Frankenstein in the Spanish Caribbean

Persephone Braham

Chapter 14. Monstrous Hybridity: Transformative Readings in Who Slashed Celanire’s Throat?

Lindsey Leigh Smith

Chapter 15. Victor Frankenstein and the Crisis of European Man

Thomas Meagher

Chapter 16. “Thinking that liberates itself from the anatamo-critical”: Some Notes on Frankenstein, Fanon, and the Combinatory Prometheus

Jeremy Matthew Glick

Chapter 17. Misinterpellated Monsters

Corey McCall and Borna Radnik

Index

About the Contributors

About the Editor

Michael R. Paradiso-Michau is lecturer in the Department of Liberal Arts at the School of the Art Institute of Chicago. Editor of Reflections on the Religious, the Ethical, and the Political , Paradiso-Michau has published in Continental Philosophy Review; Ethics; Listening: Journal of Communication Ethics, Religion, and Culture; Journal of Scriptural Reasoning; Atlantic Journal of Communication; Radical Philosophy Review; and Shofar. He has also contributed chapters to Listening to Edith Stein: Wisdom for a New Century , Neither Victim Nor Survivor: Thinking toward a New Humanity, and Shifting the Geography of Reason: Gender, Science, and Religion .

Frankenstein Sessions at NeMLA 2024

They Live: Female Monsters and Their Impact on the Frankenstein Tradition and Elsewhere 

Sponsored by the Monsters & the Monstrous Area of the Northeast Popular Culture Association 

Organized by Michael A. Torregrossa

55th NeMLA Convention

Boston, MA

7-10 March 2024

Friday

Mar 8 Track 11

04:45-06:15

11.20 They Live: Female Monsters and Their Impact on the Frankenstein Tradition and Elsewhere (Part 1)

Chair: Michael Torregrossa, Bristol Community College

Location: Gardner B (Media Equipped)

British & Cultural Studies and Media Studies

"From Prometheus to Pygmalion to Pandora: The Feminist Threat of Frankenstein’s 'Dark Brides'" Kyle Bishop, Southern Utah University

"Hypertext, the Female Monster, and Other Boundary Creatures in Shelley Jackson's Patchwork Girl" Callie Ingram, University at Buffalo, SUNY

"'I am no one’s': Subverting the ‘Bride of Frankenstein’ in The Frankenstein Chronicles " Sophie-Constanze Bantle, Albert-Ludwigs-Universität Freiburg

Saturday

Mar 9 Track 14

10:00-11:30

14.18 They Live: Female Monsters and Their Impact on the Frankenstein Tradition and Elsewhere (Part 2)

Chair: Michael Torregrossa, Bristol Community College

Location: Hampton B (Media Equipped)

British & Cultural Studies and Media Studies

"The Bride Who Survived: Shelley Jackson’s Patchwork Girl (1995) and its Female Monster" Jonathan Rose, University of Passau

"'No more let Life divide...': Serial Brides in Penny Dreadful and The Frankenstein Chronicles " Federica Perazzini, Sapienza-Università di Roma

CFP In Other Wor(l)ds: Romanticism at the Crossroads, a special issue of Romantic Textualities: Literature and Print Culture, 1780-1840 (9/15/2023)

In Other Wor(l)ds: Romanticism at the Crossroads, a special issue of Romantic Textualities: Literature and Print Culture, 1780-1840

deadline for submissions:
September 15, 2023

full name / name of organization:
Romantic Textualities

source: https://call-for-papers.sas.upenn.edu/cfp/2023/08/25/in-other-worlds-romanticism-at-the-crossroads-a-special-issue-of-romantic

contact email:
CStampone@SMU.edu

In Other Wor(l)ds: Romanticism at the Crossroads, a special issue of Romantic Textualities: Literature and Print Culture, 1780-1840­

Note: The deadline for submissions has been extended to 9/15/23.

Jhumpa Lahiri’s In Altre Parole / In Other Words (2015) describes switching from one language to another as crossing from one side of a body of water to its opposite shore. Inspired by this metaphor, this special issue invites essays that examine Romanticism’s movements across oceans and seas, as well as languages, genres, and genders. This special issue seeks to reevaluate popular conceptions of Romantic aesthetics, recover authors who continue or call into question Romanticism’s continued salience, detail the circulation of texts across oceans and borders, and strike connections between authors of different countries and cultures. Joselyn Almeida, Manu Chander, Bakary Diaby, Tim Fulford, Paul Giles, Evan Gottlieb, Samantha Harvey, Nikki Hessell, Kevin Hutchings, Peter Kitson, Deanna Koretsky, Tricia Matthew, Omar Miranda, César Soto, Helen Thomas, The Bigger 6 Collective, and others have reassessed traditional conceptions of Romanticism(s) and Romantic figures by challenging hitherto limited aesthetic, cultural, and geographical borders. Rather than view Romanticism primarily as an insulated phenomenon born out of a few European countries—as has generally been the case—this edition seeks to offer transatlantic, transpacific, and even transnational Romanticisms. Taken as a whole, this special issue will stretch the bounds and time period of Romanticism, better reflecting the development of Romantic aesthetics and their manifestations and subversions across the globe.

Topics of interest include, but are not limited to:

• Revisionary analyses that account for a global framework and decolonise texts, authors, and Romanticism as a field of study;
• Romantic networks connecting authors and ideas across space and time;
• Critical race theory and non-binary & genderqueer readings of underrepresented and canonical texts, art, music, performances, and oral traditions;
• BIPOC and LGBTQIA2S+ authors and artists;
• History of the book and transnational reception histories of underrepresented as well as canonical works of literature, specifically works that reached different parts of the globe by either book, newspaper, broadsides, handbills, and other print ephemera; and
• Comparative analyses connecting authors using similar forms (e.g., ballad romance), genre (e.g., Gothic), or allusions (e.g., Paradise Lost) across nations and languages.

Successful proposals will suggest articles that enrich our understanding of Romanticism by expanding its literal and metaphorical borders. Abstracts are due by August 15, 2023 and should be no longer than 600 words in length. Essays that grow out of accepted abstracts will undergo peer review and are due by January 31, 2024. Please email submissions to Christopher Stampone (CStampone@SMU.edu). Papers will be published in a special issue of Romantic Textualities(Winter 2024), guest edited by Christopher Stampone and Joel Pace.



Note: The deadline for submissions has been extended to 9/15/23.



Last updated September 1, 2023

Bain on ‘Frankenbitch[es]’: Adapting Frankenstein’s Female Monster in Literature and Film

Sorry to have missed this earlier. New scholarship on female Frankenstein monsters:



Bain, Gracie. “ ‘Frankenbitch[es]’: Adapting Frankenstein’s Female Monster in Literature and Film.” Literature/Film Quarterly, vol. 50, no. 4, Fall 2022, https://lfq.salisbury.edu/_issues/50_4/frankenbitches_adapting_frankensteins_female_monster_in_literature_and_film.html.

Out Now - New Edition of The Frankenstein Legend

First published in 1973, The Frankenstein Legend: A Tribute to Mary Shelley and Boris Karloff, written by Donald F. Glut, has recently been re-issued in a second edition (published by Strange Particle Press in 2022). The work covers Shelley's novel and its adaptation on stage and screen (both film and television), for radio, in fiction, and as comics. 

Comprising over 400 pages, much of the content is repeated from the original edition, but Glur has included new and/or updated images to accompany the text. In addition, Glut adds a new illustrated afterword that provides updates to various sections of the text. 

I couldn't find a direct link for Strange Particle Press, but the book can be purchased from various online booksellers as print-on-demand and electronic versions. 

CFP Critical Insights on Mary Shelley's Frankenstein: Or, The Modern Prometheus (8/9/2023)

Sorry to have missed this earlier. It should serve as a great companion to the publisher's volumes on Mary Shelley and Stoker's Dracula.

Mary Shelley's Frankenstein: Or, The Modern Prometheus UNDER CONTRACT

deadline for submissions:
August 9, 2023

full name / name of organization:
Critical Insights Series: Salem Press

contact email:
lauranicosia@gmail.com



DEADLINE FOR PROPOSALS: Monday, August 7, 2023



We seek submissions for a Critical Insights volume, under contract with Salem Press, on Mary (Wollenstonecraft) Shelley’s, Frankenstein: Or, The Modern Prometheus. Amidst rapid technological advancements, moral dilemmas, and ethical questions surrounding scientific progress, Shelley’s iconic 1818 novel, Frankenstein, still resonates in contemporary society. The novel continues to captivate readers with its timeless themes and cautionary lessons about scientific ambition and the consequences of playing God. The frame-tale novel, often overshadowed by subsequent film versions, is groundbreaking by giving a voice to the monster via its epistolary embedded-narrative form.



In today's world, where advancements like gene editing and human augmentation are becoming a reality, Shelley's novel urges us to reflect on the ethical boundaries humanity should set for itself and the potential consequences of crossing them. The novel also has compelled readers for over two centuries for its insight into the consideration of alienation and Otherness. Victor’s monster, as an outsider, brings to light the question of what is a human as he grapples with his own isolation, a concept humans increasingly identify with in the twenty-first century. The novel also remains pertinent for its environmental concerns, as ecological critics remind readers of the responsibility humans have toward the environment.



Submissions should be representative of current critical discourse about the novel and conceptually within reach of current students at the secondary and undergraduate levels. Essays that attempt to articulate the novel’s major themes and successes especially will be appreciated, as well as those that compare her work to other compelling writers.



Submissions should be tailored to one of the following categories:

• A COMPREHENSIVE BIOGRAPHICAL essay (this essay is limited to 2500 words);
• A CRITICAL RECEPTION essay that traces the reception of Shelley’s novel from publication to today (~5000 words);
• CRITICAL LENS essays that offer a close reading of the novel from a particular critical standpoint (~5000 words);
• COMPARATIVE ANALYSIS essays that analyze the work or author in the light of another work or author(~5000 words);
• CRITICAL READING essays that focus on contemporary readings of a Shelley’s novel, with emphasis on ways readers (i.e. students in secondary and university settings) might be able to appreciate or problematize the text(s) with new eyes and current literary theories (~5000 words).

By August 7, please submit a 250-350-word abstract, a 75-word biographical statement (including your affiliation), and contact information to the acquiring editor, Dr. Laura Nicosia: lauranicosia@gmail.com.



Submissions of approximately 5000 words (inclusive of Works Cited) will need to be completed by November 13, 2023.



Honoraria will be awarded by the publisher to contributors after publication.



Last updated June 27, 2023
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