{"id":1659,"date":"2019-12-16T16:00:00","date_gmt":"2019-12-16T14:00:00","guid":{"rendered":"http:\/\/blogs.uab.cat\/saramartinalegre\/?p=1659"},"modified":"2019-12-16T16:00:00","modified_gmt":"2019-12-16T14:00:00","slug":"mary-shelleys-hideous-film-progeny-a-legacy-in-need-of-renovation","status":"publish","type":"post","link":"https:\/\/webs.uab.cat\/saramartinalegre\/2019\/12\/16\/mary-shelleys-hideous-film-progeny-a-legacy-in-need-of-renovation\/","title":{"rendered":"MARY SHELLEY\u2019S (HIDEOUS) FILM PROGENY: A LEGACY IN NEED OF RENOVATION<\/strong>"},"content":{"rendered":"

Last week I skipped my weekly appointment because I was extremely busy finishing the edition of my latest e-book project with students. Here it is, finally!: Frankenstein\u2019s Film Legacy<\/em> (https:\/\/ddd.uab.cat\/record\/215815<\/a>). Since 2013-14, when I taught a monographic course on Harry Potter<\/em>, I have been developing a series of projects with undergrad and postgrad students, consisting of publishing e-books based on their course work. The new e-book is my seventh project (you can see the complete list at http:\/\/gent.uab.cat\/saramartinalegre\/content\/books<\/a>) and I\u2019m already at work on the eighth, which will be an e-book about how the United States are represented in 21st century American documentary. In fact, I have started to think of my elective courses as a space for new teaching projects. Thus, I\u2019m already thinking of next year\u2019s MA course on Gender Studies as a chance to explore gender issues in recent fantasy films, after producing already an e-book on science fiction (https:\/\/ddd.uab.cat\/record\/206282<\/a>). By the way, I was immensely pleased to present this e-book both at Llibreria Gigamesh (in June) and in our recent national conference of English Studies AEDEAN at Alicante (in November).<\/p>\n

Frankenstein\u2019s Film Legacy <\/em>is exceptional in my collaboration with students because it has been based on work by second-year students. So far, I had only worked on the e-books in third\/fourth year BA electives and in MA electives. A little bit too rashly, I decided to include an e-book in our exercises for the BA course on \u2018English Romantic Literature\u2019, in which we read the \u2018six males\u2019 (as a co-teacher calls them), that is, Blake, Wordsworth, Coleridge, Byron, Shelley and Keats, and the \u2018two females\u2019 as I should call them \u2013Mary Shelley and Jane Austen. The reason why I used many entries in this blog last semester to discuss these authors, and the reason why I thought of the e-book is that I assumed mine would be a temporary incursion into Romanticism and I would soon return to teaching Victorian Literature. The e-book was meant to mark, then, a singularity in my teaching. <\/p>\n

In fact, this is not what has happened and I\u2019m teaching Romanticism again next Spring, but with no plans for a new e-book. The reason is that, although the students have followed quite well my guidelines (I wrote a model fact sheet \/essay they were supposed to imitate), my intervention in their writing has been more intensive than usual. The main reason is that their essays were too focused on comparing specific aspects of each of the films with Mary Shelley\u2019s novel (as I had asked them to do, indeed) and in this way, the larger picture was missing. In some cases, simply because they are young and little used to watching films released before 1999, when they were born. In other cases because only I had the complete picture of the e-book and could connect the dots (yes, The Island<\/em> and Never Let Me Go<\/em> share exactly the same Frankensteinian topic). The good news is that most of these students will be soon participating in the e-book about the US documentary, and now have a basic training to do so. Incidentally, if you\u2019re thinking that I have used too much time for this project, the answer is \u2018not really\u2019: the time I did not use to prepare lectures (thirty students did class presentations based on the films), is the time I have used for the e-book. My own writing and my constant other deadlines have just delayed publication (though obviously the course marks were awarded punctually in June).<\/p>\n

So, what\u2019s this e-book about? I selected 75 films, beginning with Metropolis<\/em> (1926) and ending with Mary Shelley<\/em> (2017), which dealt with the topic of artificial life and connected, indirectly or directly, with Frankenstein<\/em>. The final list is down to 57 because I got work from fewer students than I expected, and also because I finally discarded a few fact sheets that were incomplete. Here are the films, in the same order in which they appear in the e-book: <\/p>\n

\u2022\t1920s to 1970s: Metropolis<\/em> (1927), Frankenstein<\/em> (1931), The Bride of Frankenstein<\/em> (1935), Godzilla\/Gojira<\/em> (1954), 2001: A Space Odyssey<\/em> (1968), Young Frankenstein<\/em> (1974), The Rocky Horror Picture Show<\/em> (1975)
\n\u2022\t1980s: Blade Runner<\/em> (1982), WarGames<\/em> (1983), The Terminator<\/em> (1984), The Bride<\/em> (1985), Weird Science<\/em> (1985), The Fly<\/em> (1986), Robocop<\/em> (1987), Akira<\/em> (1987), Making Mr. Right<\/em> (1987)
\n\u2022\t1990s: Bicentennial Man<\/em> (1990), Edward Scissorhands<\/em> (1990), Jurassic Park<\/em> (1993), Mary Shelley\u2019s Frankenstein<\/em> (1994), Ghost in the Shell<\/em> (1995), Mary Reilly<\/em> (1996), The Adventures of Pinocchio<\/em> (1996), Alien Resurrection<\/em> (1997), Gattaca<\/em> (1997), Gods and Monsters<\/em> (1998), Deep Blue Sea<\/em> (1999), The Matrix<\/em> (1999)
\n\u2022\t2000s: Hollow Man<\/em> (2000), A.I.: Artificial Intelligence<\/em> (2001), S1mOne<\/em> (2002), Hulk<\/em> (2003), Van Helsing<\/em> (2004), I, Robot<\/em> (2004), The Island<\/em> (2005), WALL\u00b7E<\/em> (2008), Splice<\/em> (2009), Moon<\/em> (2009)
\n\u2022\t2010s: Never Let Me Go<\/em> (2010), EVA<\/em> (2011), La Piel que Habito<\/em> (2011), Rise of the Planet of the Apes<\/em> (2011), Hotel Transylvania<\/em> (2012), Frankenweenie<\/em> (2012), Robot and Frank<\/em> (2013), Her<\/em> (2013), The Machine<\/em> (2013), Dawn of the Planet of the Apes<\/em> (2014), Lucy<\/em> (2014), Victor Frankenstein<\/em> (2015), Chappie<\/em> (2015), Morgan<\/em> (2016), Blade Runner 2049<\/em> (2017), The Shape of Water<\/em> (2017), Logan<\/em> (2017), Mary Shelley<\/em> (2017) and Alita: Battle Angel<\/em> (2019). <\/p>\n

\tA mixed bag, yes, undeniably. By the way: the e-book ends now with Alita<\/em> because a student suggested that we include this title. At first, I believed that it would diminish the coherence of the e-book, which I intended to finish with Mary Shelley\u2019s biopic. But, then, I finally saw that Alita<\/em> works as a sort of \u2018to be continued\u2026\u2019. My aim, as I hope you can see, was to teach my students that the influence of Frankenstein<\/em> is indeed colossal, even though in many cases the films depended on an intermediate source or made no direct allusion to Shelley. The moment, however, you see these 57 films from a perspective that takes Frankenstein<\/em> into account, interesting things happen. Pedro Almod\u00f3var can now be said to be a science-fiction film director. Both A.I.<\/em> and the live action version of Pinocchio<\/em> force us to consider what Mary Shelley\u2019s novel would have been like had Victor made a young boy rather than an adult male. The presence of women, or females, in films such as Bride of Frankenstein<\/em> (1935) and Ex Machina<\/em> (2014) also raises the question of how Mary\u2019s dark tale would have differed had Victor made a woman originally, or finished making the female mate for his monster.<\/p>\n

\tThere are many films I like very much in the list and I think it is necessary to highlight once more the turning point marked by Blade Runner<\/em> (1982), the first film to hint, albeit quite confusedly, that our future replacement at the top of the animal hierarchy might be flesh-and-blood artificial humans rather than mechanical constructions. I\u2019ll clarify once again that the Nexus-6 replicants whom Detective Deckard must \u2018retire\u2019 are not robots but adult individuals made like Victor\u2019s monster out of separate organs. The difference is that Victor scavenges the organs for his Adam from dead people (and animals) and the replicants are assembled using living organs tailor-made for them, using genetic engineering. This is the same method used to make the \u2018robots\u2019 of Karel \u010capek Shelleyan play R.U.R.<\/em> (1920). In its original Czech \u2018robot\u2019 means \u2018slave worker\u2019 and this is what caused the confusion. November 2019, when Blade Runner<\/em> is set, has come and go and we are not closer to seeing replicants in our streets. Yet, what is already being discussed is whether the humanoids soon to be our companions will be fully mechanical or fully organic. In just two hundred years, then, since Mary Shelley published her Gothic novel, what was pure fantasy is now almost reality.<\/p>\n

\tThe films examined in the e-book tell the same story which Mary Shelley told but with variations on the main roles (the creator, the creature) and the background. What is frustrating is that none of the direct adaptations of Frankenstein<\/em> is minimally good as a film. James Whale\u2019s 1931 version is iconic because it did literally provide popular culture with a major icon in Boris Karloff\u2019s performance and looks, but it cannot be said to be a great film. Kenneth Branagh\u2019s Mary Shelley\u2019s Frankenstein<\/em> is not what its title promises, though it comes a bit closer. There are more embarrassing attempts at transferring the tale onto the screen: Victor Frankenstein<\/em> (2015) is a mess, full stop. My first intention, in fact, was to focus the e-book exclusively on direct adaptations of Mary\u2019s novel but I did not see what the students would learn by seeing tons of bad movies. This is why I opted for the indirect adaptation, the Frankenstein-themed film if you wish.<\/p>\n

\tThe other major disappointment is Haifaa Al-Mansour\u2019s recent biopic, Mary Shelley<\/em> (2017). I had included Ken Russell\u2019s eccentric Gothic <\/em>(1986) in the list for the e-book but this is one of the movies that was finally not covered. I thought, anyway, that Al-Mansour\u2019s feminist credentials (she\u2019s the first Saudi Arabian female film director ever) made her a very good choice to lead the team behind the film. Then I saw her biopic in the middle of teaching Frankenstein<\/em> and I couldn\u2019t have been more disappointed. Trying to compress the eight years (1814-1822) of Mary and Percy\u2019s romance in just two hours did not work well at all. Biopics, as a matter of fact, work best when they focus on a single central episode for there is no good way you can summarize real life. I come to the conclusion that a documentary would have served the same purpose but much better; yet, the fictional representation of reality still dominates over the non-fictional.<\/p>\n

\tI don\u2019t know if I am here projecting my own fatigue but after seeing Alita<\/em>, yet another disappointing film, I have the impression that the topic of artificial life needs an urgent renewal. To begin with, this is a strange case of knowing, yet not knowing Mary Shelley, which possibly explains the failure of Al-Mansour\u2019s biopic (and Jeannette Winterson\u2019s inclusion in Frankissstein<\/em> of yet another retelling of Mary\u2019s creation of her monster). The treatment of Mary\u2019s person is too superficial for fans to be content and for non-fans to be recruited to the cause of vindicating her genius. Next, her novel still lacks a good audio-visual version, whether this is for cinema or for TV. I don\u2019t mean by this one that is faithful down to the last detail but a version that gives a better impression of that peculiar thing called the \u2018spirit\u2019 of a novel. In the third place, the new tales need to get closer to actual science or to actual scientific speculation (in the vein of the first Jurassic Park<\/em>) and not just be vehicles for shallow plots with skinny girls beating the hell out of bulky male villains. Or with artificial women playing femme fatale<\/em> or unexpectedly having babies (doesn\u2019t anyone know what a tubal ligation is?). The plotline \u201cscientist makes creature that goes berserk\u201d is, let\u2019s recall it, two hundred years old already. We need to start thinking of a new angle \u2013but just don\u2019t mention the word \u2018reboot\u2019\u2026 Except for Planet of the Apes<\/em>!<\/p>\n

\tEnjoy, in any case, the collective effort that my students and I have made to show you the way into Frankenstein<\/em>\u2019s immense film legacy. And celebrate Mary\u2019s powers of creation, always vastly superior to Victor\u2019s.<\/p>\n

I publish a post once a week (follow @SaraMartinUAB). Comments are very welcome! Download the yearly volumes from: http:\/\/ddd.uab.cat\/record\/116328. My web: http:\/\/gent.uab.cat\/saramartinalegre\/<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Last week I skipped my weekly appointment because I was extremely busy finishing the edition of my latest e-book project with students. Here it is, finally!: Frankenstein\u2019s Film Legacy (https:\/\/ddd.uab.cat\/record\/215815). Since 2013-14, when I taught a monographic course on Harry Potter, I have been developing a series of projects with undergrad and postgrad students, consisting […]<\/p>\n","protected":false},"author":98,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[15,16,19,29,30,31],"tags":[207,318,413],"class_list":["post-1659","post","type-post","status-publish","format-standard","hentry","category-film-adaptations","category-film-studies","category-gothic","category-romanticism-regency-literature","category-science","category-science-fiction","tag-frankenstein","tag-mary-shelley","tag-romanticism"],"_links":{"self":[{"href":"https:\/\/webs.uab.cat\/saramartinalegre\/wp-json\/wp\/v2\/posts\/1659","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/webs.uab.cat\/saramartinalegre\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/webs.uab.cat\/saramartinalegre\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/webs.uab.cat\/saramartinalegre\/wp-json\/wp\/v2\/users\/98"}],"replies":[{"embeddable":true,"href":"https:\/\/webs.uab.cat\/saramartinalegre\/wp-json\/wp\/v2\/comments?post=1659"}],"version-history":[{"count":0,"href":"https:\/\/webs.uab.cat\/saramartinalegre\/wp-json\/wp\/v2\/posts\/1659\/revisions"}],"wp:attachment":[{"href":"https:\/\/webs.uab.cat\/saramartinalegre\/wp-json\/wp\/v2\/media?parent=1659"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/webs.uab.cat\/saramartinalegre\/wp-json\/wp\/v2\/categories?post=1659"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/webs.uab.cat\/saramartinalegre\/wp-json\/wp\/v2\/tags?post=1659"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}