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| | Redfield, "_Frankenstein_'s Cinematic Dream", Frankenstein's Dream, Praxis Series, Romantic Circles |
 | | Whale furnishes the monster with something like a visual equivalent to the eloquence he possesses in Shelley’s novel: laced with shadows, emerging out of dark corners of the expressionist set, all knobs and scars and clomping boots, the monster is nonetheless by far the most human figure in this frequently shamelessly B-grade film. |
 | | In the case of the Frankenstein monster, one could even add that his theatrical scars and prostheses and his awkward mechanical movements offer a displaced figure for the utter constructedness of cinematic visionas though the record of angled shots, cutting, editing, etc. could be inscribed on a visible body. |
 | | At the end of the novel, Victor is animated by his own rhetoric and little else: worn out from a speech to Walton’s crew in which he repeats his old error ("You were hereafter to be hailed as the benefactors of your species"), he collapses, "sunk in languor, and almost deprived of life" (150). |
| www.rc.umd.edu /praxis/frankenstein/redfield/redfield.html (4714 words) |
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