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

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 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

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. 

Recent Book: Transmedia Creatures: Frankenstein’s Afterlives

I believe this was the last collection of essays that came out in print for the 200th-anniversary of Frankenstein. My apologies for the delay in posting the details.


Transmedia Creatures: Frankenstein’s Afterlives
Edited by Francesca Saggini, Anna Enrichetta Soccio.
https://www.rutgersuniversitypress.org/transmedia-creatures/9781684480616


Contributions by Lidia De Michelis, Eleanor Beal, Gino Roncaglia, Claire Nally, Claudia Gualtieri, Federico Meschini, Enrico Reggiani, Diego Saglia, Daniele Pio Buenza, Ruth Heholt, Andrew McInnes, Janet Larson

296 pages, 6, 6 x 9

Paperback,October 19, 2018,$29.95
978-1-6844-8060-9
[other formats also available]


About This Book
On the 200th anniversary of the first edition of Mary Shelley’s Frankenstein, Transmedia Creatures presents studies of Frankenstein by international scholars from converging disciplines such as humanities, musicology, film studies, television studies, English and digital humanities. These innovative contributions investigate the afterlives of a novel taught in a disparate array of courses - Frankenstein disturbs and transcends boundaries, be they political, ethical, theological, aesthetic, and not least of media, ensuring its vibrant presence in contemporary popular culture. Transmedia Creatures highlights how cultural content is redistributed through multiple media, forms and modes of production (including user-generated ones from “below”) that often appear synchronously and dismantle and renew established readings of the text, while at the same time incorporating and revitalizing aspects that have always been central to it. The authors engage with concepts, value systems and aesthetic-moral categories—among them the family, horror, monstrosity, diversity, education, risk, technology, the body—from a variety of contemporary approaches and highly original perspectives, which yields new connections. Ultimately, Frankenstein, as evidenced by this collection, is paradoxically enriched by the heteroglossia of preconceptions, misreadings, and overreadings that attend it, and that reveal the complex interweaving of perceptions and responses it generates.

Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.



Table of Contents

Abbreviations ix

Introduction: Frankenstein: Presence, Process, Progress
Francesca Saggini

PA R T I
Labs, Bots, and Punks: Transmediating Technology and Science
1 Frankenstein and Science Fiction
Gino Roncaglia
2 Monstrous Algorithms and the Web of Fear: Risk, Crisis, and Spectral Finance in Robert Harris’s The Fear Index
Lidia De Michelis
3 Frankensteinian Gods, Fembots, and the New Technological Frontier in Alex Garland’s Ex_Machina
Eleanor Beal

PA R T I I
Becoming Monsters: The Limits of the Human
4 Staging Steampunk Aesthetics in Frankenstein Adaptations: Mechanization, Disability, and the Body
Claire Nally
5 Frankenstein; or, the Modern Prometheus in the Postcolony
Claudia Gualtieri
6 Four- Color Myth: Frankenstein in the Comics
Federico Meschini

PA RT I I I
The Evolution Games of Sight and Sound
7 “Uncouth and inarticulate sounds”: Musico- Literary Traces in Frankenstein, and Frankenstein in Art Music
Enrico Reggiani
8 Enter Monsieur le Monstre: Cultural Border- Crossing and Frankenstein in London and Paris in 1826
Diego Saglia
9 The Theme of the Doppelgänger in James Searle Dawley’s Frankenstein
Daniele Pio Buenza
10 Perverting the Family: Re- Working Victor Frankenstein’s Gothic Blood- Ties in Penny Dreadful
Ruth Heholt

PA R T I V
Monster Reflections
11 The Masked Performer and “the Mane Electric”: The Lives and Multimedia Afterlives of Margaret Atwood’s Doctor Frankenstein
Janet Larson
12 Young Adult Frankenstein
Andrew McInnes
13 Revivifying Frankenstein’s Myth: Historical Encounters and Dialogism in Back from the Dead:
The True Sequel to Frankenstein
Anna Enrichetta Soccio

Acknowledgments

Bibliography

Index

About the Contributors



About the Author/Editor
FRANCESCA SAGGINI is a professor of English literature at the Università della Tuscia in Viterbo, Italy. She is the author of many books, including The Gothic Novel and the Stage: Romantic Appropriations.

ANNA E. SOCCIO is a professor of English literature at the Università G. d’Annunzio in Chieti, Italy. She is the author of several books, including Come leggere “Hard Times”.

CFP Frankenstein’s Lives: Shelley’s Novel as Cultural Phenomenon (expired)

Profuse apologies for having missed this as well.


Frankenstein’s Lives: Shelley’s Novel as Cultural Phenomenon
https://call-for-papers.sas.upenn.edu/cfp/2019/02/21/frankenstein%E2%80%99s-lives-shelley%E2%80%99s-novel-as-cultural-phenomenon

deadline for submissions: May 20, 2019

full name / name of organization:
Robert I. Lublin and Elizabeth Fay

contact email:
robert.lublin@umb.edu

Call for Papers: Frankenstein’s Lives: Shelley’s Novel as Cultural Phenomenon

Co-edited by Robert I. Lublin and Elizabeth Fay

We seek chapter proposals for a collection that celebrates the 200th anniversary of the publication of Mary Shelley’s Frankenstein.

After 200 years, Frankenstein has emerged into an international cultural phenomenon. During the novel’s bicentennial, events took place around the world to celebrate the novel’s publication. Frankenstein continues to be more salient than ever. We are compiling a collection that explores the range of cultural responses the novel has elicited as well as the ways it continues to be relevant to our world today and to the future.

Frankenstein’s Lives will explore the various ways that the novel has proved to be a cultural touchstone, particularly in moments of stress. For instance, The Living Theatre creatively responded to the politics of the 1960s with their piece of “total theatre,” Frankenstein. Today, more than ever, the novel speaks to us as we encounter an increasingly uncertain world. Recent theatrical revisions have staged the novel in politically trenchant ways. 21st century film versions highlight 21st century fears. The novel also speaks to current political pressures that threaten to tear our world apart. Essays may take a broad range of approaches, so long as they seek to make sense of the cultural phenomenon Frankenstein has become. We welcome critical and creative interventions in our understanding of the novel as a social and cultural phenomenon.



Possible chapter topics:

• Science Fiction
• Frankenstein on stage
• Gender studies
• Technology
• Animal studies
• Food
• Artistic responses
• Music
• Postcolonialism
• Poststructural philosophy
• Politics
• Monstrosity

Please submit a proposal (500 word max) along with a brief bio (50 word max) to both Robert I. Lublin (robert.lublin@umb.edu) and Elizabeth Fay (elizabeth.fay@umb.edu) by May 20, 2019. Final essays should be 6500-9000 words, including notes and citations. Feel free to contact the co-editors if you have any questions.


Last updated February 21, 2019
This CFP has been viewed 2,920 times.

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.

Frankenweenie (1984 and 2012)

Tim Burton's Frankenweenie begin as a short film (1984) and was later remade into a full-length feature (2012). It offers an interesting recasting of the Frankenstein story in its account of the love between a young boy and his pet.

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 Frankenstein Unbound: An Interdisciplinary Conference Exploring Mary Shelley and Gothic Legacies (6/29/2018; Bournemouth 10/31-11/01/2018)

Finally, a call that is current (though only barely):


Frankenstein Unbound: An Interdisciplinary Conference Exploring Mary Shelley and Gothic Legacies
https://call-for-papers.sas.upenn.edu/cfp/2018/05/03/frankenstein-unbound-an-interdisciplinary-conference-exploring-mary-shelley-and

deadline for submissions: June 29, 2018

full name / name of organization: Arts University Bournemouth

contact email: frankensteinunboundconference@gmail.com



DEADLINE FOR ABSTRACTS EXTENDED: 29th June 2018

Dates: Wednesday 31 October and Thursday 1 November 2018

Venues: Conference - St Peter’s Church, Bournemouth



Keynote Speakers:

Sir Christopher Frayling, Chancellor, Arts University Bournemouth

Professor Elaine Graham, University of Chester

Professor Sir Peter Cooke, CRAB Studios (TBC)



In 1849, Mary Shelley and Percy Shelley’s heart were brought to the graveyard of St. Peter’s Church in Bournemouth, where they were buried with the remains of Mary Shelley’s parents Mary Wollstonecraft and William Godwin.

In 2018, Arts University Bournemouth and St. Peter’s Church, in association with Bournemouth University, celebrate the bicentenary of the publication of Mary Shelley’s most famous work Frankenstein, or the Modern Prometheus (1818) as part of the Shelley Frankenstein Festival. The academic conference, located at this unique venue, will offer new and re-situated perspectives on Mary Shelley and her writings, her family and circle, and her most famous work. We are pleased to acknowledge colleagues at Bournemouth University for their organisational support.

We invite papers and presentations themed around, but not limited to, the following:

• Mary Shelley, Percy Shelley, and the Romantics
• Mary Wollstonecraft and Mary Shelley
• Mary Shelley beyond Frankenstein
• The Shelley family: history and legacy
• Monstrous Romantics
• Frankenstein and the sea
• Theology and Frankenstein
• Frankenstein and philosophy
• Frankenstein at home and abroad
• Adaptations and afterlives
• Frankenstein and medical humanities
• The abject and the sublime
• Frankenstein and emotion
• Guilt and crime in Frankenstein
• Interpretations of Frankenstein in the creative industries (Film, Art, Theatre, Dance, Writing etc)
• Mary Shelley and Gothic legacies
• Gothic architecture
• The Gothic imagination

We welcome proposals for themed panel sessions (maximum three papers), individual twenty-minute presentations, or creative submissions from practitioners and scholars of all fields. We particularly encourage submissions from post-graduate students and Early Career Researchers. Please submit an abstract (300 words) and short biography (100 words) to frankensteinunboundconference@gmail.com by Friday 29th June 2018.

For more information and updates visit our website: https://frankensteinunbound.wordpress.com/.

CFP Frankenstein: Two Hundred Years of Monsters Conference (expired)

Came across this by accident today; sadly, it is also expired.

Frankenstein: Two Hundred Years of Monsters
http://hrc.cass.anu.edu.au/events/frankenstein-two-hundred-years-monsters


- Call for Papers -

Frankenstein 2018: Two Hundred Years of Monsters

12 ‐ 15 September 2018
The Australian National University and the National Film and Sound Archive, Canberra


Nearly two centuries after its anonymous publication on 1 January 1818, Mary Shelley’s Frankenstein or, The Modern Prometheus remains as topical as ever. Its core story - of a recklessly ambitious and naïve scientist whose artificial, human-like creature arouses only horror and disgust, and escapes control to seek revenge on his creator - has become, for better or worse, the techno‐scientific fable of modernity. First adapted for stage by Richard Brinsley Peake in 1823, and for film by Edison Studios in 1910, the story has inspired more theatre, film, television and other adaptations than any other modern narrative, with more than 50 screen adaptations appearing in the 2010s alone. From Fritz Lang’s Metropolis to Alex Garland’s Ex Machina, and The Rocky Horror Picture Show to The Addams Family, the Frankenstein myth reaches into every recess of high and popular culture.

We invite proposals for 20-­minute papers or 3 x 20‐minute panel sessions from scholars across the humanities, sciences, and social sciences that respond in interdisciplinary ways to this most interdisciplinary of novels, including, but not limited to:

• Literary studies, especially of the long eighteenth century, Romanticism, Victorian and neo­‐Victorian literature
• Re-tellings and re-­‐imaginings of the Frankenstein story in various modes and genres, e.g. SF, steampunk, speculative fiction, slash fiction, etc.
• Film, television, theatre and performance, and visual studies
• Digital humanities, reception studies, histories of popular culture, and media ecologies
• Gender studies, queer theory, and the history of sexuality
• Disability studies and post‐humanism
• The history of medicine, especially reproductive technologies
• Science and technology studies; images and imaginaries of science and scientists
• The history and philosophy of biology, especially in relation to vitalism
• Eco‐criticism and the Anthropocene
• Affect theory and the history of emotions
• Frankenstein and race, colonialism, empire
• Global and local Frankensteins, e.g. Australian Frankensteins
• Frankenstein and material history
• Cyborgs, robots, artificial intelligence, and machine learning
• Synthetic biology, genetic engineering, and artificial life

To maintain order among this menagerie of monsters, we propose the following four overarching themes, each of which will be addressed by one of our keynote speakers:

Frankenstein in 1818: historicising the monster
(Professor Sharon Ruston, Lancaster)

Frankenstein as scientific fable: from grave-­‐robbing and galvanism to synthetic biology and machine learning
(Professor Genevieve Bell, Australian National University)

Adaptation and experimentation: Frankenstein in film and other media
(Assistant Professor Shane Denson, Stanford)

Frankenstein’s queer family: gender, sexuality, reproduction and the work of care
(Professor Julie Carlson, University of California, Santa Barbara)


Please send proposals for papers or sessions - including a title, 250­‐word abstract, and brief author biography - to Dr Russell Smith at russell.smith@anu.edu.au.

The deadline for proposals is 6 April 2018. Proposals will be reviewed by a committee comprising scholars from the humanities, sciences, and social sciences, and applicants will be informed of the outcome within two weeks of the submission deadline. Please note that we will endeavour to notify overseas applicants earlier if they submit proposals before the submission deadline.

For further information and updates, as well as information about the Humanities Research Centre’s annual theme for 2018, Imagining Science and Technology 200 Years after Frankenstein, see here.

Please direct any inquiries to Penny Brew at hrc@anu.edu.au.

Frankenstein and Its Classics

Due out this summer:
Frankenstein and Its Classics: The Modern Prometheus from Antiquity to Science Fiction

https://www.bloomsbury.com/us/frankenstein-and-its-classics-9781350054875/
Editor(s): Benjamin Eldon Stevens, Jesse Weiner, Brett M. Rogers

Published: 08-09-2018
Format: Paperback
Edition: 1st
Extent: 288
ISBN: 9781350054875
Imprint: Bloomsbury Academic
Series: Bloomsbury Studies in Classical Reception
Illustrations: 14 bw illus
Dimensions: 6 1/8" x 9 1/4"
List price: $29.95

Also available in hardcover and ebook formats.



About Frankenstein and Its Classics

Frankenstein and Its Classics is the first collection of scholarship dedicated to how Frankenstein and works inspired by it draw on ancient Greek and Roman literature, history, philosophy, and myth. Presenting twelve new essays intended for students, scholars, and other readers of Mary Shelley's novel, the volume explores classical receptions in some of Frankenstein's most important scenes, sources, and adaptations. Not limited to literature, the chapters discuss a wide range of modern materials-including recent films like Alex Garland's Ex Machina and comics like Matt Fraction's and Christian Ward's Ody-C-in relation to ancient works including Hesiod's Theogony, Aeschylus's Prometheus Bound, Ovid's Metamorphoses, and Apuleius's The Golden Ass.

All together, these studies show how Frankenstein, a foundational work of science fiction, brings ancient thought to bear on some of today's most pressing issues, from bioengineering and the creation of artificial intelligence to the struggles of marginalized communities and political revolution. This addition to the comparative study of classics and science fiction reveals deep similarities between ancient and modern ways of imagining the world-and emphasizes the prescience and ongoing importance of Mary Shelley's immortal novel. As Frankenstein turns 200, its complex engagement with classical traditions is more significant than ever.


Table of contents

Introduction: The Modern Prometheus Turns 200
Jesse Weiner, Hamilton College, USA; Benjamin Eldon Stevens, Trinity University, USA;
Brett M. Rogers, University of Puget Sound, USA

Section 1: Promethean Heat

1. Patchwork Paratexts and Monstrous Metapoetics: “After tea M reads Ovid”
Genevieve Liveley, University of Bristol, UK

2. Prometheus and Dr. Darwin's Vermicelli: Another Stir to the Frankenstein Broth
Martin Priestman, University of Roehampton, UK

3. The Politics of Revivification in Lucan's Bellum Civile and Mary Shelley's Frankenstein
Andrew McClellan, University of Delaware, USA

4. Romantic Prometheis and the Molding of Frankenstein
Suzanne L. Barnett, Francis Marion University

5. Why “The Year without a Summer”?
David A. Gapp, Hamilton College, USA

6. The Sublime Monster: Frankenstein, or The Modern Pandora
Matthew Gumpert, Bogaziçi University, Turkey

Section 2: Hideous Progeny

7. Cupid and Psyche in Frankenstein: Mary Shelley's Apuleian Science Fiction?
Benjamin Eldon Stevens, Trinity University, USA

8. “The Pale Student of Unhallowed Arts”: Frankenstein, Aristotle, and the Wisdom of Lucretius
Carl A. Rubino, Hamilton College, USA

9. Timothy Leary and the Psychodynamics of Stealing Fire
Nese Devenot, University of Puget Sound, USA

10. Frankenfilm: Classical Monstrosity in Bill Morrison's Spark of Being
Jesse Weiner, Hamilton College, USA

11. Alex Garland's Ex Machina or The Modern Epimetheus: Science Fiction after Mary Shelley
Emma Hammond, University of Bristol, UK

12. The Postmodern Prometheus and Posthuman Reproductions in Science Fiction
Brett M. Rogers, University of Puget Sound, USA

Suggestions for Further Reading: Other Modern Prometheis
Sam Cooper, Bard High School Early Colleges Queens, USA

Works cited
Index


Reviews

“Frankenstein's patchwork of classical allusions were as diverse and uncanny as the monster itself. Putting Prometheus back into the “promethean”, this timely and exciting volume shows how classical mythology, refracted through Frankenstein, shapes ethical debates prompted by technological and scientific advances today.” – Jennifer Wallace, Harris Fellow and Director of Studies in English, Peterhouse, University of Cambridge, UK.

“This highly scholarly, yet very accessible, collection grounds the original Frankenstein and adaptations of it in numerous ancient Greco-Roman sources, some for the first time and all with a revealing thoroughness unavailable until now.” – Jerrold E. Hogle, Professor of English and University Distinguished Professor, University of Arizona, USA.

Adapting Frankenstein: The Monster's Eternal Lives in Popular Culture

This looks like a great (and affordable) text to pair with the Cambridge Companion to Frankenstein. I wish it was out now.

Adapting Frankenstein: The Monster's Eternal Lives in Popular Culture

Edited by Dennis R. Cutchins and Dennis R. Perry

http://www.manchesteruniversitypress.co.uk/9781526108913/

(North American distribution through Oxford University Press: https://global.oup.com/academic/product/adapting-frankenstein-9781526108913?cc=us&lang=en&)

Book Information

Format: Paperback
ISBN: 978-1-5261-0891-3
Pages: 400
Publisher: Manchester University Press
Price: £25.00
Published Date: August 2018

Available in North America for $39.95 beginning 01 October 2018.

Description

 

Mary Shelley's Frankenstein is one of the most popular novels in western literature. It has been adapted and re-assembled in countless forms, from Hammer Horror films to young-adult books and bandes dessinées. Beginning with the idea of the 'Frankenstein Complex', this edited collection provides a series of creative readings that explore the elaborate intertextual networks that make up the novel's remarkable afterlife. It broadens the scope of research on Frankenstein while deepening our understanding of a text that, 200 years after its original publication, continues to intrigue and terrify us in new and unexpected ways. 

 

 

Contents

 

Introduction

The Frankenstein Complex: when the text is more than a text - Dennis Cutchins and Dennis R. Perry

Part I: Dramatic adaptations of Frankenstein on stage and radio

1 Frankenstein's spectacular nineteenth-century stage history and legacy - Lissette Lopez Szwydky

2 A Frankensteinian model for adaptation studies, or 'It Lives!': adaptive symbiosis and Peake's Presumption, or the fate of Frankenstein - Glenn Jellenik

3 The gothic imagination in American sound recordings of Frankenstein - Laurence Raw

Part II: Cinematic and television adaptations of Frankenstein

4 A paranoid parable of adaptation: Forbidden Planet, Frankenstein, and the atomic age - Dennis R. Perry

5 The Curse of Frankenstein: Hammer film studios' reinvention of horror cinema - Morgan C. O'Brien

6 The Frankenstein Complex on the small screen: Mary Shelley's motivic novel as adjacent adaptation - Kyle Bishop

7 The new ethics of Frankenstein: responsibility and obedience in I, Robot and X-Men: First Class - Matt Lorenz

8 Hammer films and the perfection of the Frankenstein project - Maria K. Bachman and Paul Peterson

Part III: Literary adaptations of Frankenstein

9 'Plainly stitched together': Frankenstein, neo-Victorian fiction, and the palimpsestuous literary past - Jamie Horrocks

10 Frankensteinian re-articulations in Scotland: monstrous marriage, maternity, and the politics of embodiment - Carol Margaret Davison

11 Young Frankensteins: graphic children's texts and the twenty-first-century monster - Jessica Straley

12 In his image: the mad scientist remade in the young adult novel - Farran Norris Sands

13 The soul of the matter: Frankenstein meets H. P. Lovecraft's 'Herbert West-Reanimator' - Jeffrey Andrew Weinstock

Part IV: Frankenstein in art, illustrations, and comics: from X-Men to steampunk

14 Illustration, adaptation and the development of Frankenstein's visual lexicon - Kate Newell

15 'The X-Men meet Frankenstein! "Nuff Said"': adapting Mary Shelley's monster in superhero comic books- Joe Darowski

16 Expressionism, deformity and abject texture in bande dessinée appropriations of Frankenstein - Véronique Bragard and Catherine Thewissen

Part V: New media adaptations of Frankenstein

17 Assembling the body/text: Frankenstein in new media - Tully Barnett and Ben Kooyman

18 Adaptations of 'liveness' in theatrical representations of Mary Shelley's Frankenstein - Kelly Jones

Afterword

Frankenstein's pulse: an afterword - Richard J. Hand

Index

Editors

Dennis R. Cutchins is Associate Professor of American Literature at Brigham Young University

Dennis R. Perry is Associate Professor of American Literature at Brigham Young University