Abstract
This chapter traces the development of the Frankenstein myth in twenty-first-century cinema to reach two main conclusions. First, it argues that the poor critical reception and box-office performances of post-millennial adaptations of Frankenstein suggest this myth may be on the wane, at least in cinema. Mainstream adaptations persist in turning Frankenstein’s creature into a hero and victim in a move that betrays a modern preference for the sympathetic monster. Second, the chapter argues that the Frankensteinian decline in cinema may be connected to the rise of the similar figure of the viral zombie. Zombies, as the sources of artificially engineered pandemics, readily channel contemporary anxieties regarding the dangers of unbridled scientific and technological advances and prod the boundaries between death and conscious life.
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Notes
- 1.
For the plurality of interpretations of the Frankenstein monster in the twentieth century, see Svehla and Svehla (1997).
- 2.
The film acknowledges Shelley’s novel as source text.
- 3.
Hence, cinema’s focus on the reanimation scene, which does not feature as significantly in the novel. See Schor (2003).
- 4.
The reboot of Universal’s horror films as superhero films from 2017 onwards is indicative of this move towards action and adventure . For more on the superhero phenomenon, see Hassler-Forest (2012).
- 5.
This can be explained by the fact that Nispel’s Frankenstein started as a pilot for a television series. The project did not take off.
- 6.
It should be noted that not all elements are kept intact, even in the film’s brief summary scenes: the monster is thrown into a river, something that does not happen in the novel, and Victor is the one to pursue the monster, a scenario that reverses the one found at the end of Shelley’s text.
- 7.
The film made $71 million on a production budget of $65 million. It currently holds a score of 3% in Rotten Tomatoes (averaged from 89 reviews), which indicates a very poor reception. BoxOfficeMojo.com. Accessed October 13, 2016. http://www.boxofficemojo.com/movies/?id=ifrankenstein.htm; RottenTomatoes.com. Accessed October 13, 2016. https://www.rottentomatoes.com/m/i_frankenstein/#contentReviews
- 8.
The critical consensus in Rotten Tomatoes is that the film ‘ultimately offers little of interest that viewers haven’t already seen in superior Frankenstein films’. RottenTomatoes.com. Accessed October 13, 2016. https://www.rottentomatoes.com/m/victor_frankenstein_2015/
- 9.
Even the most successful of these, Frankenweenie , only made a modest profit. The film is listed in the website Box Office Flops: A Database of Films that Failed at the Box Office, where its ticket sales are described as ‘c[oming] in far below expectations’. BoxOfficeFlops.com. Accessed October 13, 2016. http://www.boxofficeflops.com/yearly-breakdowns/2012-2/frankenweenie
- 10.
See also Rushing and Frentz (1995).
- 11.
From a microbiological point of view, these films also engage with debates on whether viruses themselves are forms of life. See Woodard (2012: 18).
- 12.
- 13.
See Luckhurst (2015).
- 14.
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Aldana Reyes, X. (2018). Promethean Myths of the Twenty-First Century: Contemporary Frankenstein Film Adaptations and the Rise of the Viral Zombie. In: Davison, C., Mulvey-Roberts, M. (eds) Global Frankenstein. Studies in Global Science Fiction. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-78142-6_10
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