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Case Study: Case Study: The Evolution of The Evolution of Frankenstein Frankenstein Films Films Week 13: Class, Race and the Week 13: Class, Race and the Horror Film Horror Film Draft Written by: Greg Thompson Edited by: Dr. Kay Picart Web Design by: Michaela Densmore Edited by Dr. Kay Picart and Michaela Densmore © 2001

Case Study: The Evolution of Frankenstein Films Week 13: Class, Race and the Horror Film Draft Written by: Greg Thompson Edited by: Dr. Kay Picart Web

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Page 1: Case Study: The Evolution of Frankenstein Films Week 13: Class, Race and the Horror Film Draft Written by: Greg Thompson Edited by: Dr. Kay Picart Web

Case Study: Case Study:

The Evolution ofThe Evolution of

Frankenstein Frankenstein FilmsFilmsWeek 13: Class, Race and the Horror FilmWeek 13: Class, Race and the Horror Film

Draft Written by: Greg Thompson

Edited by: Dr. Kay Picart

Web Design by: Michaela Densmore

Edited by Dr. Kay Picart and Michaela Densmore © 2001

Page 2: Case Study: The Evolution of Frankenstein Films Week 13: Class, Race and the Horror Film Draft Written by: Greg Thompson Edited by: Dr. Kay Picart Web

Objectives and OutlineObjectives and OutlineObjectives and OutlineObjectives and Outline

Introduce Horror Genre (30 minutes)Horror Film Time Line (30 minutes) Discussion of changes in What horrifies and

why in contemporary society (15 minutes)The Evil of Frankenstein (1964) (30minutes)

ORFrankenstein and the Monster from Hell (30

minutes)Discussion (15 minutes)

Page 3: Case Study: The Evolution of Frankenstein Films Week 13: Class, Race and the Horror Film Draft Written by: Greg Thompson Edited by: Dr. Kay Picart Web

HorrorHorrorHorrorHorror

The horror film genre is one of the most easily recognizable genres that we discuss. It is marked by several key icons such as heavy makeup, a monster, or monstrous antagonist, and creepy settings. Even though the definition is easy to grasp, the horror film is intended to horrify the audience.

Page 4: Case Study: The Evolution of Frankenstein Films Week 13: Class, Race and the Horror Film Draft Written by: Greg Thompson Edited by: Dr. Kay Picart Web

What Horrifies?What Horrifies?What Horrifies?What Horrifies?

Both the question of what horrifies, and the idea of overcoming that which is feared, lead to an understanding of what the society values and fears.

For this reason we can look at the horror genre and identify several key factors during the course of American history that are reflected in the genre throughout the twentieth century.

Page 5: Case Study: The Evolution of Frankenstein Films Week 13: Class, Race and the Horror Film Draft Written by: Greg Thompson Edited by: Dr. Kay Picart Web

1930’s Horror Films1930’s Horror Films1930’s Horror Films1930’s Horror Films

Dracula (1931)Frankenstein (1931) The Mummy (1932)King Kong (1933)Bride of Frankenstein (1935)Son of Frankenstein (1939)The Wolfman (1941)

Page 6: Case Study: The Evolution of Frankenstein Films Week 13: Class, Race and the Horror Film Draft Written by: Greg Thompson Edited by: Dr. Kay Picart Web

1930’s World1930’s World1930’s World1930’s World

During the 1930’s, and early 1940’s of course,

the U.S and much of the world was in the

grasp of a prolonged and deep economic

depression.

The decade ended with uncertainty about the

deteriorating political situations in Europe and

the coming of World War II.

Continued . . .

Page 7: Case Study: The Evolution of Frankenstein Films Week 13: Class, Race and the Horror Film Draft Written by: Greg Thompson Edited by: Dr. Kay Picart Web

1930’s World (2)1930’s World (2)1930’s World (2)1930’s World (2)

It would seem that two important things are of significance in relation to these films.

One consideration is that the audience (although being scared) is finding a form of pure escapism in these film; another consideration is that there is a sense of placing the blame on something or someone beyond human control for all the chaos in which one lives.

Page 8: Case Study: The Evolution of Frankenstein Films Week 13: Class, Race and the Horror Film Draft Written by: Greg Thompson Edited by: Dr. Kay Picart Web

1950’s Horror Films1950’s Horror Films1950’s Horror Films1950’s Horror Films

The Creature From The Black Lagoon (1954)The Beginning Of The End (1957) The Blob (1958)Attack Of The Fifty-Foot Woman (1958)

Page 9: Case Study: The Evolution of Frankenstein Films Week 13: Class, Race and the Horror Film Draft Written by: Greg Thompson Edited by: Dr. Kay Picart Web

1950’s World1950’s World1950’s World1950’s World

During this post-war period again, several fac-tors contribute to make the horror genre follow a specific pattern.

In this instance, the dropping of the atomic bomb in Japan and the coming the “Atomic Age” presented society with an ambivalent feeling toward the benefits / potential dangers of a scientific world.

Continued . . .

Page 10: Case Study: The Evolution of Frankenstein Films Week 13: Class, Race and the Horror Film Draft Written by: Greg Thompson Edited by: Dr. Kay Picart Web

1950’s World1950’s World1950’s World1950’s World

Also largely at play during this time were the

insistence on the growth of a corporate

mentality and the feeling of alienation that

occurred during a tremendous growth in mass

society and culture.

The Cold War mentality further emphasized

the “us-versus-them” mentality of the time

period. Continued . . .

Page 11: Case Study: The Evolution of Frankenstein Films Week 13: Class, Race and the Horror Film Draft Written by: Greg Thompson Edited by: Dr. Kay Picart Web

1950’s World1950’s World1950’s World1950’s World

The films of this time would punish the “evil” or

those not willing to “fall in line,” while re-

warding those that do follow society’s rules.

Page 12: Case Study: The Evolution of Frankenstein Films Week 13: Class, Race and the Horror Film Draft Written by: Greg Thompson Edited by: Dr. Kay Picart Web

1970’s Horror Films1970’s Horror Films1970’s Horror Films1970’s Horror Films

Rosemary's Baby (1968)

Exorcist (1973)

The Omen (1976)

The Amityville Horror (1979)

Page 13: Case Study: The Evolution of Frankenstein Films Week 13: Class, Race and the Horror Film Draft Written by: Greg Thompson Edited by: Dr. Kay Picart Web

1970’s World1970’s World1970’s World1970’s World

The films of this time period reflect such things as the deterioration of the family, the Vietnam War era, and the battle between traditional and counter cultural points of view.

There had been an enormous movement in the counterculture of the ‘60s, involving the appropria-tions of Eastern religions.

Continued . . .

Page 14: Case Study: The Evolution of Frankenstein Films Week 13: Class, Race and the Horror Film Draft Written by: Greg Thompson Edited by: Dr. Kay Picart Web

1970’s World1970’s World1970’s World1970’s World

The number of films that deal with religious themes could be a relation to this shift in the de-centering of Christianity as the sole religious foundation in U.S. culture.

Page 15: Case Study: The Evolution of Frankenstein Films Week 13: Class, Race and the Horror Film Draft Written by: Greg Thompson Edited by: Dr. Kay Picart Web

1980’s and 1990’s Films1980’s and 1990’s Films1980’s and 1990’s Films1980’s and 1990’s Films

Nightmare on Elm Street (1984)Friday The 13th (1980)Halloween (1978)Silence of the Lambs (1990)The Sixth Sense (1999) Hannibal (2001)

Page 16: Case Study: The Evolution of Frankenstein Films Week 13: Class, Race and the Horror Film Draft Written by: Greg Thompson Edited by: Dr. Kay Picart Web

1980’s and 1990’s World1980’s and 1990’s World1980’s and 1990’s World1980’s and 1990’s World

The 1980s and 1990s horror films bring along the continuation of the de-centered American family and the dangers that this brings with the 1980s.

These films also focused on the teenage audience and as Bordwell and Thompson state, the fascination with the combination of sexuality and danger.

Continued . . .

Page 17: Case Study: The Evolution of Frankenstein Films Week 13: Class, Race and the Horror Film Draft Written by: Greg Thompson Edited by: Dr. Kay Picart Web

1980’s and 1990’s World1980’s and 1990’s World1980’s and 1990’s World1980’s and 1990’s World

The 90s seem to be far more focused on the

mental aspects of well being or flaws of the

human psyche, reflecting the late twentieth

century’s focus on psychology, psychiatry and

psychiatrically based therapeutic solutions to

problems.

Page 18: Case Study: The Evolution of Frankenstein Films Week 13: Class, Race and the Horror Film Draft Written by: Greg Thompson Edited by: Dr. Kay Picart Web

Three Traditional Horror ElementsThree Traditional Horror ElementsThree Traditional Horror ElementsThree Traditional Horror Elements

Spooky locations (e.g. a castle, laboratory, insane

asylum).

Heavy make up with or without masks (e.g.

Frankenstein, Wolf Man, Freddy Kruger).

Low budgets (e.g. generally any of the films listed

above).

Page 19: Case Study: The Evolution of Frankenstein Films Week 13: Class, Race and the Horror Film Draft Written by: Greg Thompson Edited by: Dr. Kay Picart Web

The Monster is a Breach of NatureThe Monster is a Breach of NatureThe Monster is a Breach of NatureThe Monster is a Breach of Nature

How the monster is a breach of nature can come about in a number of ways.

The monster might violate the boundary between the living and the dead. It might be an ordinary human who is transformed, or the monster might manifest biology unknown to science.

Continued . . .

Page 20: Case Study: The Evolution of Frankenstein Films Week 13: Class, Race and the Horror Film Draft Written by: Greg Thompson Edited by: Dr. Kay Picart Web

The Monster is a Breach of Nature (2)The Monster is a Breach of Nature (2)The Monster is a Breach of Nature (2)The Monster is a Breach of Nature (2)

Belton states that if the monster horrifies us be-cause it violates the laws of nature, we know that the genre is well suited to suggest the limits of human knowledge.

This leads to a common convention of this type of plot wherein the characters conclude that there are some things that humans are not meant to know.

Continued . . .

Page 21: Case Study: The Evolution of Frankenstein Films Week 13: Class, Race and the Horror Film Draft Written by: Greg Thompson Edited by: Dr. Kay Picart Web

The Monster is a Breach of Nature (3)The Monster is a Breach of Nature (3)The Monster is a Breach of Nature (3)The Monster is a Breach of Nature (3)

Hence, we see in the horror genre, perhaps more

so than in any other genre, the age-old battles

between knowledge and power, science and

nature, science and religion.

Page 22: Case Study: The Evolution of Frankenstein Films Week 13: Class, Race and the Horror Film Draft Written by: Greg Thompson Edited by: Dr. Kay Picart Web

RACE and RACE and The Evil Of Frankenstein The Evil Of Frankenstein (1964)(1964)RACE and RACE and The Evil Of Frankenstein The Evil Of Frankenstein (1964)(1964)

Coding and the question of aliena-tion are interrelated in this film and lead us to question of the “look” of the film in terms of casting.

Continued . . .

Page 23: Case Study: The Evolution of Frankenstein Films Week 13: Class, Race and the Horror Film Draft Written by: Greg Thompson Edited by: Dr. Kay Picart Web

RACE and RACE and The Evil Of Frankenstein The Evil Of Frankenstein (1964)(1964)The Problem of OmissionThe Problem of Omission

RACE and RACE and The Evil Of Frankenstein The Evil Of Frankenstein (1964)(1964)The Problem of OmissionThe Problem of Omission

Let me first say that your initial reaction to this question is “Well, it is 19th century Germany Rhine-land area and a lack of diversity is reason-able, historically.”

To which I reply yes. With two conditions . . .

Continued . . .

Page 24: Case Study: The Evolution of Frankenstein Films Week 13: Class, Race and the Horror Film Draft Written by: Greg Thompson Edited by: Dr. Kay Picart Web

RACE and RACE and The Evil Of Frankenstein The Evil Of Frankenstein (1964)(1964)RACE and RACE and The Evil Of Frankenstein The Evil Of Frankenstein (1964)(1964)

One, the film was made in England in 1964; it would have been possible to cast “non-whites” in some roles.

Point Two is the fact that in reality there are two non-white roles and how they are depicted tells us a great a deal about race in this film. The first of course is the creature. He is blue or green or something that is not any skin color (that’s healthy at least). . .

Continued . . .

Page 25: Case Study: The Evolution of Frankenstein Films Week 13: Class, Race and the Horror Film Draft Written by: Greg Thompson Edited by: Dr. Kay Picart Web

RACE and RACE and The Evil Of Frankenstein The Evil Of Frankenstein (1964)(1964)RACE and RACE and The Evil Of Frankenstein The Evil Of Frankenstein (1964)(1964)

Our other non-white character is that of the deaf-mute girl.

I would emphasize not only her inability to speak but also for her stunning red hair.

She is marked by that hair as something different, out of the ordinary, and unable to fit into society.

Continued . . .

Page 26: Case Study: The Evolution of Frankenstein Films Week 13: Class, Race and the Horror Film Draft Written by: Greg Thompson Edited by: Dr. Kay Picart Web

RACE and RACE and The Evil Of Frankenstein The Evil Of Frankenstein (1964)(1964)RACE and RACE and The Evil Of Frankenstein The Evil Of Frankenstein (1964)(1964)

Like the creature, she is used

by the white male characters in

the film for their own gain; she

is unable to fit into society and

she lacks intelligence.

Page 27: Case Study: The Evolution of Frankenstein Films Week 13: Class, Race and the Horror Film Draft Written by: Greg Thompson Edited by: Dr. Kay Picart Web

Frankenstein and the Monster from HellFrankenstein and the Monster from HellFrankenstein and the Monster from HellFrankenstein and the Monster from Hell

The question of race portrayal comes about through marking and through omission.

Continued . . .

Page 28: Case Study: The Evolution of Frankenstein Films Week 13: Class, Race and the Horror Film Draft Written by: Greg Thompson Edited by: Dr. Kay Picart Web

Frankenstein and the Monster from HellFrankenstein and the Monster from HellFrankenstein and the Monster from HellFrankenstein and the Monster from Hell

The monster was a human being at one time, but form the first moment we see him, he is far more ape-like than human, both in terms of the amount of hair and his facial features.

Certainly this type of make up / costuming would at the very least make him less than human.

Page 29: Case Study: The Evolution of Frankenstein Films Week 13: Class, Race and the Horror Film Draft Written by: Greg Thompson Edited by: Dr. Kay Picart Web

Class and Class and The Evil Of FrankensteinThe Evil Of FrankensteinClass and Class and The Evil Of FrankensteinThe Evil Of Frankenstein

Frankenstein is a Baron.His economic status, although damaged, is still

an important identifier for Frankenstein.

Page 30: Case Study: The Evolution of Frankenstein Films Week 13: Class, Race and the Horror Film Draft Written by: Greg Thompson Edited by: Dr. Kay Picart Web

Class and Power in Class and Power in Frankenstein and the Monster from Hell Frankenstein and the Monster from Hell

Class and Power in Class and Power in Frankenstein and the Monster from Hell Frankenstein and the Monster from Hell

In this film Baron Frankenstein is in a position of power not through economic means, which of course has no real value in the insane asylum, but he does have information on the director that puts him in the position to control the asylum.

However, his “power” manifests itself in materialistic ways.

Continued . . .

Page 31: Case Study: The Evolution of Frankenstein Films Week 13: Class, Race and the Horror Film Draft Written by: Greg Thompson Edited by: Dr. Kay Picart Web

Class and Power in Class and Power in Frankenstein and the Monster from Hell Frankenstein and the Monster from Hell

Class and Power in Class and Power in Frankenstein and the Monster from Hell Frankenstein and the Monster from Hell

Frankenstein’s lodgings in the hidden room of the

asylum are filled with luxury items that other

“inmates” would not be allowed to have.

His ability to purchase the items he needs to

continue his experiments also demonstrates his

position of power.

Continued . . .

Page 32: Case Study: The Evolution of Frankenstein Films Week 13: Class, Race and the Horror Film Draft Written by: Greg Thompson Edited by: Dr. Kay Picart Web

Class and Power in Class and Power in Frankenstein and the Monster from Hell Frankenstein and the Monster from Hell

Class and Power in Class and Power in Frankenstein and the Monster from Hell Frankenstein and the Monster from Hell

He is now being funded by the state. This is seen when we first we him come to the director to discuss why materials were not paid for in advance.

Through the blackmailing of the director, any and all equipment he will need is paid for through government subsidy.

Page 33: Case Study: The Evolution of Frankenstein Films Week 13: Class, Race and the Horror Film Draft Written by: Greg Thompson Edited by: Dr. Kay Picart Web

Discussion QuestionsDiscussion Questions Discussion QuestionsDiscussion Questions

In what ways do race and gender intersect In what ways do race and gender intersect

with the monstrous in horror films?with the monstrous in horror films?

What is the role of the female traditionally in What is the role of the female traditionally in

horror films?horror films?