Case Study: The Evolution of Frankenstein Films Class, Race and the Horror Film Student Edition

1. Case Study: The Evolution ofFrankenstein FilmsClass, Race and the Horror FilmStudent Edition Draft Written by: Greg Thompson and Brandon Montgomery Edited by: Dr. Kay Picart and Jason Grant McKahan

2. 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.

3. 1930’s Horror Films • Give examples of monsters during this period in American history.

4. 1930’s World Continued . . .

5. 1950’s Horror Films • Give examples of horror films during the 1950s in America.

6. 1950’s World • During this post-war period, what fac-tors contributed to make the horror genre follow a specific pattern? Continued . . .

7. 1950’s World (2) • Who were “good” and “evil” according to 1950s films? Continued . . .

8. 1950’s World (5) • Wright argues the horror genre “. . .serve[s] the interest of the ruling class by assisting in the maintenance of the status quo” (189). • Do you agree or disagree? Why or why not? Continued . . .

9. 1970’s Horror Films • Give examples of US horror films in the 1970s.

10. 1970’s World • The films of this time period reflect what historical changes in the US? Continued . . .

11. 1980’s and 1990’s Films • Give examples of US horror films in the 80s and 90s.

12. 1980’s and 1990’s World • What were the common themes in these films? Continued . . .

13. Four Traditional Horror Elements • According to Bordwell and Thompson, what are four major elements of horror films? Continued . . .

14. Four Traditional Horror Elements (2) Provide four major elements of horror films.

15. The Monster is a Breach of Nature • What characteristics does the monster of a horror movie usually have that horrify us? Continued . . .

16. The Monster is a Breach of Nature (2) Provide some characteristics of the monster. Continued . . .

17. The Monster is a Breach of Nature (3) • How do horror films deal with the opposing philosophies of religion and science? Continued . . .

18. The Monster is a Breach of Nature (4) Provide examples of opposing religion and science.

19. RACE and The Evil Of Frankenstein (1964) • How is race coded in horror films? Continued . . .

20. RACE and The Evil Of Frankenstein (1964) (2) How is race coded? Answer in 1-3 clear and coherent sentences. Continued . . .

21. RACE and The Evil Of Frankenstein (1964) (3) • Is race based on skin color, hair texture, religion, or some other coding system? Continued . . .

22. RACE and The Evil Of Frankenstein (1964) (4) By what characteristics is race based? Answer in 1-3 clear and coherent sentences. Continued . . .

23. RACE and The Evil Of Frankenstein (1964) (5) • 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 . . .

24. RACE and The Evil Of Frankenstein (1964) (6)The 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 . . .

25. RACE and The Evil Of Frankenstein (1964) (7) • 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 unconscious racial, social and political aesthetics surrounding Euro American film industries have denied non-whites of many prominent roles. Continued . . .

26. RACE and The Evil Of Frankenstein (1964) (8) • What character(s) in The Evil of Frankenstein are coded as “non-white” and how can you tell? • What characteristics code the monster in this film as “non-white” or “the other”? Continued . . .

27. RACE and The Evil Of Frankenstein (1964) (9) Which characters in TheEvil of Frankenstein are coded as “non-white”? How? Continued . . .

28. RACE and The Evil Of Frankenstein (1964) (10) • 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.

29. Frankenstein and the Monster from Hell • The question of race portrayal comes about through marking and through omission. Continued . . .

30. Frankenstein and the Monster from Hell (2) • The monster was a human being at one time, but from 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. • This type of make up and costuming would at the very least make him less than human.

31. Class and The Evil Of Frankenstein • How is class portrayed in The Evil of Frankenstein? Continued . . .

32. Class and The Evil Of Frankenstein (2) Provide examples of class division in TheEvil of Frankenstein? Answer in 1-3 clear and coherent sentences. Continued . . .

33. Class and The Evil Of Frankenstein (3) • What is the social status of Frankenstein? Continued . . .

34. Class and The Evil Of Frankenstein (4) What is the social status of Frankenstein? Answer in 1-3 clear and coherent sentences.

35. Final Discussion Questions • In what ways do race and gender intersect with the monstrous in horror films? Continued . . .

36. Final Discussion Questions(2) Provide intersections of race and gender in horror films? Answer in 1-3 clear and coherent sentences. Give examples to justify your responses. Continued . . .

37. Final Discussion Questions(3) • What is the role of the female traditionally in horror films? Continued . . .

38. Final Discussion Questions(4) What are the roles of women? Answer in 1-3 clear and coherent sentences. Give examples to justify your responses.