Bride of Frankenstein (Movie Monsters Series) by Carl R. Green, William R. Sanford, Howard Schroeder

By Carl R. Green, William R. Sanford, Howard Schroeder

Whereas the wounded and apprehensive Monster he created spreads terror in the course of the state aspect, Dr. Frankenstein is persuaded via a colleague to create a girl to be the Monster's bride.

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Additional resources for Bride of Frankenstein (Movie Monsters Series)

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The affinity of the avant -garde with early cinema constitutes a version of the myth of primitivism as a minimalist film form. Dubbed "Primitive Cinema" by Noel Burch, filmmaking before 1907 (before Griffith) represents a historical otherness akin to the otherness that anthropologists are attracted to in "underdeveloped" cultures. Experimental filmmakers embraced early cinema as an alternative to the narrative realism that came to dominate the institutionalization of cinema. The romantic aestheticization of this cinematic Eden ironically reproduces colonial culture in a modernist film form, enabling a perspective on the primitive as a modernist construction.

That early (primitive) cinema frequently appears in collage films only adds to the force of the parallel process of rescue, redemption, and loss. Experimental filmmakers are drawn not only to the marginalia of media culture but also to marginal cultures. Affinities between artists and cultural minorities are often born of a romantic opposition to mainstream bourgeois culture, and for many filmmakers, the foray into ethnography is grounded in an identification with the cultural other. Anthropology as a site of alterity has given rise to an Orientalist liter18 Another Look aryand artistic trope that can be highly problematic.

38 The mandate of the avant-garde might 20 Another Look thus be refigured as a discourse of science fiction that remains grounded in experience and memory. 40 Many of the developments in feminist film theory provide a foundation for postcolonial theory, which may be described as a second phase of the politics of representation in film studies. Analysis of "the gaze" originated within the politics of sexual difference, and the theoretical understanding of film as a coded language of representation has been instrumental to theorizing postcolonial cinema.

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