A formalist approach to identity in selected contemporary film adaptations of Mary Shelley’s “Frankenstein” / Lida Vakili

Lida , Vakili (2021) A formalist approach to identity in selected contemporary film adaptations of Mary Shelley’s “Frankenstein” / Lida Vakili. PhD thesis, Universiti Malaya.

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Abstract

This research focuses on modern adaptations of Frankenstein in regard to the themes of sympathy, isolation, love and identity. The adaptations that form the basis of the research are Kenneth Branagh’s Mary Shelley’s Frankenstein (1994), Chris Carter’s “The Postmodern Prometheus”, Tim Burton’s Frankenweenie (2012) and Stuart Beattie’s I, Frankenstein (2014). Analysis is conducted into how faithful each adaptation is to Mary Shelley’s original in terms of character, genre and plot, delving into the relationship between creator and creature with particular regard to sympathy. The first film subjected to analysis is Kenneth Branagh’s Mary Shelley’s Frankenstein, which, for the most part, faithfully reflects the original novel. Other adaptations take a more inventive approach. In Chris Carter’s The Postmodern Prometheus, an episode of his television series The X-Files, a more inventive approach is taken in terms of adaptation. In this episode, the story of a creature ending up poles apart from the initial vision of its creator is transported to a small American town, and although the plot is familiar, the telling of the story and the characters involved are different. Tim Burton’s film Frankenweenie takes an even more unusual approach, using character names and traits from the original Frankenstein, as well as other gothic horror stories, to tell a story about a boy using electricity to bring his dead dog back to life. The film I, Frankenstein attempts to continue the story of the original novel, acting as a latter-day sequel. Critical reception of the film was mixed, veering towards the negative, but on a creative level it is commendable for attempting something different with the familiar character of Frankenstein’s creature. Each of these four adaptations takes a very different approach to either telling or continuing the story of a scientist accidentally creating a monster. By analysing four adaptations each of which come at the story from a different angle, this research not only scrutinises the films themselves but also seeks to find similarities and differences in the approaches of the directors and other people involved in the creative process. The modern legacy of Frankenstein is examined, as well as how the concepts of identity and sympathy tie the various adaptations together. Adaptation theory, including theories of cinema and adaptation, media theories in cinema, and theories of inventive adaptation, are used in this study. Aside from adaptation, formalist theory is applied in this research. The cinematic techniques used by the filmmakers to convey these concepts are analysed, including how each director puts his own stamp on the story, and the importance of cinematography in creating an intellectual and emotional response in the viewer. The study concentrates on the base elements which make up a film, such as light, sound, design and editing. Each technical decision made by a production team is considered, as each one has a consequence in terms of the effect eventually produced by the film. The composition of shots, the editing process, the initial stylistic considerations, sound, music and lighting are all looked at it in order to determine both the effect the director was hoping to achieve, as well as the actual final products.

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