THE MAN MADE MONSTERS

The last lecture dealt with the dinosaurs, whose ontological position as “monster” is debatable.

Project One: Look up “ontology”

What is ontology? Study of being in philosophy.

Another set of “monsters” have a less complicated ontology, although they vary by type and a number of these kinds of creatures exist. These are things that were in some way human and include such critters as Vampires, Werewolves, Mummies, zombies and perhaps the least human of all – the Frankenstein monster. The first three were at one time living normal humans who have become altered – vampires and werewolves through bites, mummies through natural death followed by a revitalization. Zombies are similarly re-animated dead. All of these have been approached scientifically as well and we may get to discuss this later when we get to some of the films about these.

The earliest version of Frankenstein (in writing) is Mary Wollstonecroft Shelly’s Frankenstein: A Modern Prometheus written in 1818 when she was about 18 years old

Frankenstein

The book, written in 1818 (2 years after her marriage to Percy Shelley) is by Mary Shelley. The book is called Frankenstein: A Modern Prometheus

Who is Prometheus? Forethought – A Titan who brings fire to humans. As punishment he is chained to a rock and a vulture eats his liver out daily. At night it grows back. As a punishment, humans are given Pandora a woman who is entrusted with a box which she opens letting out all the ills of the world.

Why is the book (and hence the film) film subtitled: “A modern Prometheus”?

The book was made into a play by 1823 and even the Grand Guignol did a version.

The first movie was made by Edison studios in 1910 with Charles Ogle playing the monster is a 16 minute version which we will see today.

There had, of course been earlier horror/monster films like The Golem, Nosferatu and a slew of films made by Lon Chaney

Universal studios which would become known for its horror films produced a set of horror films in the early ‘30’s which would later be duplicated in a very different style by the British company Hammer Films with Peter Cushing and Christopher Lee as the main protagonists. Universal cranked out Dracula (1931), Frankenstein (1931), The Mummy (1932), Murders in the Rue Morgue (1932), and nearly 10 years later The Wolfman (1941)

This film from 1931 was made in 35 days (24 August to 3 October 1931) and was released Dec 4th 1931. It was budgeted at $262,007.00 and came in at $291,129.13

It made over $1,000.000 in its first domestic run (more than 2x that of Dracula) One of the great moneymakers for Universal – also an artistic triumph and made the NY Times 10 best and played at the first Venice film festival 1932

The film raise hackles all over and brought out the censors. Scene and lines were cut before the releases in different places. More on these after the film

There are some interesting things to note in the opening titles not the least of which is the fact the monster goes uncredited

Monster………?

This was done in the first stage production as well and Mary Shelley approved of the idea. PT Cooke played the monster. This is an indication about what actors should be used to play monsters. One problem in casting is whether to use a relatively unknown actor (as Karloff was) or use a “big name (as happened with DeNiro). Most feel that with big names the audience gets too involved with trying to find the star under the make-up. This rule certainly doesn’t hold with “monsters” like Hannibal Lechter who is not a heavy special effect make-up character.

Some name which will appear also are Carl Lammle, James Whale (who is the subject of the biopic Gods and Monsters), Colin Clive, and Dwight Frye and Jack Pierce about whom more will be said later in the term.

THINGS TO WATCH FOR

Look for the way the frame is composed. This is not just the arrangement in the frame although that is significant. It also deals with camera placement which determines in many ways what the view will see and what the viewer WON'T see. In many monster films this is a crucial piece of the photography. Why? Look for symbols. What kinds of symbols are there and how are they used? Lighting is another crucial piece of film making - maybe the most significant because without light you can't even take a BAD photograph! Look for connections with horror and humor AFTER THE FILM

To start, the peculiar absence of an actor’s name for the monster is not the only odd thing about the film. The film has a rather odd “preface” in which Edward van Sloan who plays Dr. Waldman “braces” the audience for the film and explains something about it.

The subtexts of films are often analyzed psychoanalytically, socio-politically by using semiotics and other theories of communication. How does that happen here?

To analyze the film, it is necessary to discover both the text and subtext. The text is basically “the plot” what happens on the screen. The subtext is what can be derived from looking at the way the film is constructed and “breaking” the code of the film

What kinds of things are used to find meaning?

Photography

Proxemics

Hall’s theory that different distances have different cultural meanings. So with the camera – how close is it and what does that mean – close up, medium close up etc.

The distance between the camera and the subject affects composition. Fewer things can appear when camera is in closer.

Close-ups (can’t see what is nearby) – sudden appearance of something (shock)

Focuses on internal state of person.: faces of people during experiment, monster on entry

Focus attention: monster’s hands “questioning” when light is turn out. Feeling of “pathos” for monster so well established as crucial with Lon Chaney

Audience sees things people in the film don’t (monster’s eyes open and hand starts to move behind Doctor Waldman who is going to operate.)

Monster outside bedroom window and his entrance through the window that Elizabeth doesn’t see. This is also a function of DEPTH OF FIELD (in this case “deep focus”). Elizabeth is in the foreground and the monster is in the background, but can be seen clearly.

Delay tactics through editing . Want to see monster. Build up to first appearance. Towel over face removed, face still bandaged.

Can’t help but see the horror – close ups move in on monster on first entrance. “One comment He was saw terrifying you couldn’t look away”

Lighting

High contrast, Shadows, hard to see. Figures in film cast huge shadows. Sometimes the person isn’t visible, the shadow is or the shadow dominates the scene more than the person casting it.

Sets

Expressionistic. Stylized Great height, dark places

Shots

Shots at monsters and Frankenstein at monster’s first entrance through door mirror one another linking the two.

More shots mirroring Frankenstein and monster on hill near the end of the film

Shots linking Frankenstein and monster (e.g. in windmill through grinding apparatus.) have them in same positions linking them again

Matching shots:

Elizabeth and monster – she screams he growls. Both are equated as rivals for Frankenstein.

Composition:

groupings of people Elizabeth with Victor => Elizabeth with Henry

Visitors vs. Frankenstein

Dr. Waldman, Elizabeth and Victor (3 shot) and Frankenstein (1 shot)

Dr. Waldman, Elizabeth and Victor facing camera; Frankenstein has back to the camera

Shots in which people mirror one another lead to understanding of relations. Film has interesting triangles:

Victor/Henry/Elizabeth: both men in love with Elizabeth

Henry/Monster/Elizabeth: Monster and Elizabeth vie for Henry’s attention

Waldman/Henry/Monster: From Henry and Waldman comes the knowledge to create monster

Henry is the link between the three triangles

Filming the “eruption of the repressed”

Although this is one of the definitions people have used for horror there are certainly films where the repressed erupts which are not horror films. A classic example is Forbidden Planet with the “monsters from the id”. Yet Forbidden Planet is rarely if ever thought of as a horror film or a monster film. Quatermass and the Pit also deals with this repression and the eruption of the repressed. This film however vacillates between horror and sci-fi or perhaps merges them as Alien does

Doctor Waldman fears monster will come through door after killing Fritz (eruption of the repressed). He does finally. Door left open to get him (face repressions to rid yourself of them) (compare with original The Thing from Another World), or King Kong forcing open the gates in King Kong.

Moving camera when enters town – twice – once we see peasants dancing and happy, next is when woodcutter brings in Maria’s body and atmosphere changes as he walks past the people who go from happy to shocked.

Editing

Sets pacing of film

Lengthens time to build tension by showing things happening simultaneously by cross cutting. In effect a 10 second event lasts 20 seconds. This allows tension to build

Symbols and Semiotics:

In a sense much of what we have said has to do with a semiotic theory. Even something like a “close-up” shot can start to take on meaning.

Uprights in film: Crucifixes in graveyard, gibbet, fences, tall interiors, Gothic style, not only movements heavenward but phallic.

Directionality. Upward movement good – toward light, down to darkness. Fritz jumps down from gibbet (pronounced JIBBIT) comes down rope, down stairs in tower, Frankenstein and monster come down stairs

Frankenstein goes upstairs with “normal spectators” and up in mountain and windmill to try to destroy the monster

Use of light and darkness for “good and evil”. Monster kept out of the light. Comes up to the light (light is up; darkness down) Compare “Let there be light” What is monster’s response to sunlight – reaches for the light (reaches for “good”)

Sound

Off screen sounds – can’t be sure always what or where it is.

Fritz’ screams are heard from of screen

Bell (gong) sounds off screen when Fritz is stealing brain.

Music

The film has no “score”. The only music is diagetic – occurs during the festivals.

Sense of realism

Allows for silence as producer of tension. (scene where monster enters bedroom)

Relationship between horror and humor

Horror produces tension which needs to be broken sometimes or it becomes stultifying. Release is often in laughter Nervous laughter.

Both often deal with subjects which are tabu

View of cadaver from soles of bare feet

Film often juxtaposes horror and comedy. Laughter when one of the doctors makes skeleton move by accident. Not so funny but shock when Fritz does it when stealing brain.

Analysis

Films can be analyzed in many ways: psychologically, politically, and semiotically (the study of signs. Signs and codes – hermeneutics. Sometimes films are analyzed by topics – for example gender, sexuality and so on which can be looked at psychologically, politically etc.

What does this film mean?

PSYCHOLOGICAL

Repression

Monster comes through door after killing Fritz

Monster comes through the window after Elizabeth

Gender and Sex

Sex is generally seen as biological whereas gender is cultural. The problem is somewhat more complex.

Interestingly enough we now write "gender" on application forms, but the choice are still the same two given earlier as "sex". Has "gender" simply replaced "sex" as a term? What about "race" and "ethnicity" How are these tied together?

Sexuality:

Henry needs to marry doesn’t why?

Creates child of his own (no mother)

What does it mean to reproduce without sexuality or at least for a male without a woman?

What is the problem that causes Henry to avoid marriage?

What is the relevance of the marriage – Henry and Elizabeth – interference of monster? Eruption of the repressed.

Importance of lineage:

“Here’s to a real son to the house of Frankenstein”

Discussions about orange blossoms and carnations worn at grandparents wedding, which are to be used at Henry and Elizabeth’s wedding (and hopefully, according to the Baron, at their son’s wedding)

Monster’s entrance into bedroom. Ultimate rape symbol? Sex and violence, sex out of control? (Compare similar situation in Dracula in his entrance into the bedroom through window,)

Is there more than a hint of homosexuality in the film? Between whom? Dr. Waldman and Frankenstein? (It becomes more blatant in Bride of Frankenstein) Whose child is the monster? Does that part of Frankenstein have to be cleared out (both Dr. Waldman and monster have to be killed) before wedding with Elizabeth can happen (Consider too, Whale’s own sexuality)

What is the implication behind Frankenstein’s like to Victor when he says he has to kill the monster before he can be married “I leave her in your care? Understand? “Does he mean if he can’t rid himself of his sexual problem, Victor should marry her?

Note: Despite the killings there is no blood shown, no dismemberment, Body is not yet the site of horror, Watch for later developments.

Gender

Men more important. Elizabeth not very proactive. More reactive relates to political material about gender Even the author Mary Shelley is listed as Mrs. Percy B Shelly in credits.

Elizabeth locked in room by husband. No one seems to think this unreasonable. Also indicates compartmentalization of Frankenstein’s sexuality. Elizabeth and monster need to be kept apart. Real problem when monster enters her room.

Religion

Innocents of children

Maria and Monster are children in several ways one is child of wood cutter, one of scientists (later version will say to biological son of Frankenstein that he and monster are brothers with same father but monster’s mother was the lightning)

Guileless Maria sees monster as equal – playmate as does the monster

Film parallels them in composition sitting face to face, kneeling together

The film opens with funeral and sounds of liturgical Latin (death =>life? Frankenstein wants to use dead to make body to create life in). God creates life from the ground – in a sense so does Frankenstein, but using dead bodies not the earth itself. Dust unto dust (and in the case back again)

Reversal of Christ story – child with no father

Monster = child with no mother.

Confusion of monster with creator = Doppelganger (made in his image?)

Even audiences frequently refer to the monster as “Frankenstein”.

Creator and creation – what is relationship. In this case creator deserts creation. In effect God exists but is uninvolved. As a result the creature turns “evil” in that he does bad things although not out of malice. God is in a sense responsible for evil.

Implication that creation of being without proper sexuality is wrong. Perhaps in both cases.

Reflexivity

Film is about creativity. The line “made with these hands” comes up several times. Several close up of hands (Henry’s when he says “with my own hands” Monster’s when he looks for explanation about why light is cut off.

The film is Whale ‘s creation

Political

Monster kills Fritz who torments him; Dr. Waldman, who is going to kill him; the girl by accident. He is responding to how he is treated. People attack what they don’t understand

Even Frankenstein has problems with identity with monster: “You see IT understands” (said to Waldman when monster sits down)

“Leave IT alone Fritz” Later “He hated Fritz, he always tormented him” (Compare I, Robot, “You said “someone” not “something”) Doctor is believer in biological determinism

Frankenstein is not.

Compare “sit down” line to Victor (forceful), Elizabeth (gentle) and monster (gentle)

Upper class in power but Baron is rather dotty old fool

Burgomeister is disliked by him but is forced to show respect

Town is waiting for wedding all decorated.

Patriarchy:

Discussions of marriage in terms of “sons” not children or daughters. Line passes through the sons

Problems of women’s roles in film (Elizabeth only major female character, film is male dominated)

See discusssion above about lack of proactivity.

Philosophical/Theoretical

It has been argued that this is an "anti-enlightenment" film. That is to say the film asserts the inability of science to solve the world's problems. Science is problematic in the film. It contradicts religion. In a sense this is seen by some as the beginning of a kind of post modernistic rejection of the enlightenment as a "good thing" and the beginning of a kind of secular humanism.

Some trivia about the film

What about the film upset people that they demanded the cuts here: (Some of the censor’s demands may help get a grip on what was so upsetting about this film in 1931.)

(1) Line to be cut:

Victor: In the name of God

Frankenstein: In the name of God? - Now I know what it feels like to be God”

It was covered by a thunderclap and has been restored in the restored version

(2) Scenes to be cut:

Maria and the monster

Fritz hanging

The boudoir scene