Coming Soon Bride of Frankenstein (film|minutes)

Found on Amazon:

Bride of Frankenstein (film|minutes) 

Paperback – September 9, 2025

by Shane Denson (Author)

Full details and preview at https://www.amazon.com/dp/1643150847/.

Open-Access at https://doi.org/10.3998/mpub.13005363. 

Publisher ‏ : ‎ Lever Press

Publication date ‏ : ‎ September 9, 2025

Language ‏ : ‎ English

Print length ‏ : ‎ 215 pages

ISBN-10 ‏ : ‎ 1643150847

ISBN-13 ‏ : ‎ 978-1643150840

Dimensions ‏ : ‎ 5 x 0.49 x 7 inches

The inaugural volume in the film|minutes book series, this book offers a close, minute-by-minute analysis of director James Whale’s iconic 1935 masterpiece Bride of Frankenstein. Alternating between a variety of analytical lenses, including descriptive, historical, and philosophical, this study breaks from conventional forms of film-analytical writing and offers an experiment in defamiliarization and looking anew. In the 1930s, the film opened a space for reflection on the rapid normalization of filmic sound, which it both relies on and estranges. In the 2020s, Bride of Frankenstein brings forth questions of new technological mediums such as artificial intelligence and the transformation of human agency. Shane Denson argues that such associations should not be written off as mere anachronism, but seen, rather, as a strategy of serialization; that is, it is by means of such anachronism that a film like Bride of Frankenstein remains open to new developments and novel situations, and thus comes alive for future viewers.

Volumes in the film|minutes series cut up films into segments of exactly one minute and transform each minute into an innovative tool for thinking with the film. Each volume works rigorously with the concept of “the minute” as a non-cinematic scale/quantity, a means to zoom in on (dis)orderly fragments that do not necessarily respect the confinements of cinematic form or meaning. As a critical practice, the focus on minutes causes disruptions and displacement that create novel connections and perspectives, and uncovers hidden traces, making it possible to watch each film anew.

About the Author

Shane Denson is Professor of Film and Media Studies, and by courtesy, of German Studies and of Communication at Stanford University, where he also serves as Director of the Program in Modern Thought & Literature. His research interests span a variety of media and historical periods, including phenomenological and media-philosophical approaches to film, digital media, and serialized popular forms.

CFP They Live: Female Monsters and Their Impact on the Frankenstein Tradition (9/30/2023; NeMLA Boston 3/7-10/2024)

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

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

Organized by Michael A. Torregrossa


Call for Papers - Please Submit Proposals by 30 September 2023

55th Annual Convention of Northeast Modern Language Association

Sheraton Boston Hotel (Boston, MA)

On-site event: 7-10 March 2024


See the shared Google Doc for the full call with a list of bibliographic resources on the topic: https://tinyurl.com/They-Live-NeMLA-2024.

Session Information

In this session, we seek to engage with and to build upon the work of Erin Hawley in “The Bride and Her Afterlife: Female Frankenstein Monsters on Page and Screen” in order to develop a more complete picture of the roles of the Bride of Frankenstein and her analogues within the Frankenstein tradition.


In 2025, James Whale’s film Bride of Frankenstein will celebrate its 90th anniversary. This is an important milestone, but it has a larger impact beyond the world of film. In both Frankenstein (1931) and Bride of Frankenstein, Whale and make-up artist Jack Pierce gave life to two iconic figures of modern popular culture: the Monster (played by Boris Karloff) and the Bride (played by Elsa Lanchester).


The creation of the Bride was especially significant since in the source, Mary Shelley’s Frankenstein, the mate of the creature is destroyed while still in progress. There is no meeting of Victor Frankenstein’s creations. In the film, however, the Bride is completed, brought to life, and briefly interacts with her intended. Unfortunately, the pair fail to connect, and, by the film’s end, the Bride is destroyed again.


Despite this, once having encountered her in the flesh through Lanchester’s portrayal, it was impossible for creative artists to let the Bride stay dead. For at least six of her almost nine decades, the Bride of Frankenstein has been revived time and again in a diverse variety of media, including artwork, cartoons, children’s books, comics, films, games, prose fiction, and television programs. Each new text offers an innovative contribution to the ongoing Frankenstein tradition through the ways the Bride and her analogues forge new narratives as they act with and react to other characters within the base story.


Submissions might explore

• The ways the Bride of Frankenstein and her analogues transform the story through their roles as wives and mothers as they bring to fulfillment many of the hopes expressed by the creature in Shelley’s novel
• The ways versions of female Frankensteins that take a darker turn bring about the bleaker visions Victor Frankenstein has for his creation(s)
• How the existence of female Frankensteins (even when absent) reshapes many of their male counterparts by moving them from menaces to husbands and fathers

See the shared Google Doc for the full call with a list of bibliographic resources on the topic: https://tinyurl.com/They-Live-NeMLA-2024. Further resources about the Frankenstein tradition can be found at our website Frankenstein and the Fantastic at https://frankensteinandthefantastic.blogspot.com/. Do connect with any ideas for additional references and/or resources.


Thank you for your interest in our session. Please address questions and/or concerns to the organizers at popular.preternaturaliana@gmail.com.


For more information on the Monsters & the Monstrous Area of the Northeast Popular Culture Association, please visit our website at https://popularpreternaturaliana.blogspot.com/.

Submission Information

All proposals must be submitted into the CFPList system at https://cfplist.com/nemla/Home/S/20362 by 30 September 2023. You will be prompted to create an account with NeMLA (if you do not already have one) and, then, to complete sections on Title, Abstract, and Media Needs.


Notification on the fate of your submission will be made prior to 16 October 2023. If favorable, please confirm your participation with chairs by accepting their invitations and by registering for the event. The deadline for Registration/Membership is 9 December 2023.


Be advised of the following policies of the Convention: All participants must be members of NeMLA for the year of the conference. Participants may present on up to two sessions of different types (panels/seminars are considered of the same type). Submitters to the CFP site cannot upload the same abstract twice.(See the NeMLA Presenter Policies page, at https://www.buffalo.edu/nemla/convention/policies.html, for further details,)


Thank you for your interest in our session. Please address questions and/or concerns to the organizers at popular.preternaturaliana@gmail.com.

Frankenstein in Comics New Scholarship

Apologies for tooting my own horn, but I recently had three items published based on my ongoing work on adaptations of Frankenstein the comics.

The citations are as follows:

Torregrossa, Michael A. “Building a Better Bride: Female Frankenstein Monsters in the Comics.” Proceedings of the 2020 Science Fictions Popular Cultures Academic Conference, edited by Timothy F. Slater, Carrie J. Cole, and Greg Littman, Pono Publishing, 2020, pp. 165-73. ISBN 979-8689344874 (paperback); eBook ASIN B08NT97MFD. 

Torregrossa, Michael A. “Frankenstein and Its Legacy in the Comics.” International Journal of Comic Art, vol. 23, no. 2, Fall/Winter 2021, pp. 432-40.

Torregrossa, Michael. “She Lives: Bringing the Bride of Frankenstein to Life in the Comics.” Proceedings of the 33rd Annual Far West Popular Culture Association Conference, edited by David G. Schwartz, Digital Scholarship@UNLV, 2021, digitalscholarship.unlv.edu/fwpca/33rdannual/fourtwo/3/.

Monster Force (1994)

Monster Force (1994) is a short-lived animated series from Universal. It sets the studio's famous monsters into the near future year of 2020, where a team of heroes, aided by Frankenstein's Monster, face off against a band of evil monsters lead by Dracula. Of note, the 2020 of Monster Force is a highly advanced era compared to our time, and the show is very much a science fiction series full of advanced technology.

The first seven episodes of the series were released on DVD back in 2009. Here's hoping for a full release next year (when we catch up to the show).

Young Frankenstein (1974)

Young Frankenstein (1974), from Gene Wilder and Mel Brooks, is simultaneously a brilliant homage to and send-up of the Universal Frankenstein films. It presents a continuation and recasting of the Frankenstein story that brings a descendant of Victor Frankenstein back to his ancestral home, where (as the musical adaption so matter-of-factly puts it) he joins the family business.

Frankenstein Unbound (1990)

Frankenstein Unbound (1990), a rare science-fictional take on the story, is based on the acclaimed novel of the same name by Brian W. Aldiss. The film (and the novel before it) casts a time traveler from the future back to the year 1817. There he encounters both characters from Frankenstein as well as a young Mary Shelley.

Mary Shelley's Frankenstein (1994)

Mary Shelley's Frankenstein (1994) offers an interesting adaptation of the novel. It is not a totally faithful retelling but does offer some insight into how such a production might be envisioned.

CFP Diagnosing History: Medicine in Television Costume Dramas (9/15/2018)

Here's an interesting idea:

Diagnosing History: Medicine in Television Costume Dramas
https://call-for-papers.sas.upenn.edu/cfp/2018/06/20/diagnosing-history-medicine-in-television-costume-dramas

deadline for submissions: September 15, 2018

full name / name of organization: Dr. Julie Anne Taddeo

contact email: taddeo@umd.edu


There has been a long relationship between television and medicine: some of the small screen’s most popular shows, on both sides of the Atlantic, have been medical in focus, from hospital-set dramas like ER to reality TV shows and docudramas like One Born Every Minute. This fascination with doctors, hospitals and bodies is also shared by period drama television, but scholarship has paid little attention to this intersection/relationship. Recent period dramas including The Knick, Mercy Street, and Charite, for example, use the hospital setting familiar from older shows like Bramwell, to address larger themes about the professionalization of medicine, medical innovations and failures, and the gender politics that surround the profession. Dramas like Call the Midwife document the progress of the NHS and female reproductive health while also engaging in contemporary debates about contraception, abortion, and disability. In addition, medical-driven narratives abound in almost every period drama on our screens today: war-induced mental and physical trauma in Peaky Blinders; Spanish ‘flu in The Village; gay conversion plotlines in A Place to Call Home; bodily and facial disfigurement in Home Fires; medical experimentation and monstrosity in Penny Dreadful and Frankenstein Chronicles; nursing as a vehicle of female emancipation in The Crimson Field and Morocco: Love in Times of War; and all of the above and many more in Downton Abbey, whose most famous plotlines are medical in nature.

This edited collection seeks to address this important area of period drama studies, and we are looking for proposals for essays on any of the above issues, or which may be interdisciplinary in approach and engage with the medical humanities, interrogating relationships between medicine and history, class, gender or race. Our collection aims to be international in scope, so submissions about period dramas from/situated in any country are welcome.


Please send a 500 word abstract and brief biography by Sept 15, 2018 to:

Julie Anne Taddeo: taddeo@umd.edu

James Leggott: james.leggott@northumbria.ac.uk

Katherine Byrne: kbyrne@ulster.ac.uk

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 https://www.hancholo.com/collections/monster-lovers.

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: https://www.thinkgeek.com/product/jpkl/.

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 https://www.thinkgeek.com/product/jpkm/.