Social media and Bride of Frankenstein: Difference between pages

From Wikipedia, the free encyclopedia
(Difference between pages)
Content deleted Content added
VisualWikitext
 
→‎Production: no e in Rains
 
Line 1: Line 1:
{{Infobox Film
{{refimprove|date=August 2008}}
| name = Bride of Frankenstein
'''Social media''' are primarily Internet-based tools for sharing and discussing information among human beings.<ref>[http://www.benparr.com/2008/08/its-time-we-defined-social-media-no-more-arguing-heres-the-definition It's Time to Define Social Media: No More Arguing. Here's the Definition]: article from [http://benparr.com Ben Parr.com] website. Retrieved on [[August 15]] [[2008]].</ref><ref>[http://friendfeed.com/e/a17f269c-2e0f-bb6d-9fa6-f406f265571a FriendFeed conversation]: on it's Time to Define Social Media Retrieved on [[August 15]] [[2008]].</ref> The term most often refers to activities that integrate technology, social interaction, and the construction of words, pictures, videos and audio. This interaction, and the manner in which information is presented, depends on the varied perspectives and "building" of shared meaning among communities, as people share their stories and experiences.
| image = Brideoffrankposter.jpg
| image_size = 200px
==Distinction from industrial media==
| caption = theatrical poster
Social media are distinct from industrial media, such as [[newspapers]], [[television]], and [[film]]. While social media are relatively cheap tools that enable anyone (even private individuals) to [[publish]] or access information, industrial media are relatively expensive tools that generally require significant [[financial capital]] to publish information (which often limits their use to commercial purposes)<ref>http://www.ethanbauley.com/post/51599317/the-biggest-irony-on-the-internet</ref>. Examples of industrial media include a [[printing press]] or a government-granted [[spectrum license]].
| director = [[James Whale]]
| producer = [[Carl Laemmle Jr.]]
| writer = [[Mary Shelley]] ''([[Frankenstein|novel]])''<br>William Hurlbut ''(screenplay and adaptation)''<br>[[John L. Balderston]] ''(adaptation)''
| starring = [[Boris Karloff]]<br>[[Colin Clive]]<br>[[Valerie Hobson]]<br>[[Ernest Thesiger]]<br>[[Elsa Lanchester]]<br>[[Una O'Connor]]
| music = [[Franz Waxman]]
| cinematography = [[John J. Mescall]]
| editing = Ted Kent
| distributor = [[Universal Pictures]]
| released = April 22, {{fy|1935}} ''(US)''
| runtime = 75 minutes
| country = {{FilmUS}}
| language = {{English}}
| budget = US$393,750
| gross =
| preceded_by = ''[[Frankenstein (1931 film)|Frankenstein]]'' ({{fy|1931}})
| followed_by = ''[[Son of Frankenstein]]'' ({{fy|1939}})
| amg_id = 1:7091
| imdb_id = 0026138
}}
'''''Bride of Frankenstein''''' (advertised as '''''The''' Bride of Frankenstein'') is a {{fy|1935}} [[science fiction film|science fiction]]/[[horror film]]. The movie is the first sequel to the influential film ''[[Frankenstein (1931 film)|Frankenstein]]'' ([[1931 in film|1931]]). ''Bride of Frankenstein'' was directed by [[James Whale]] and stars [[Boris Karloff]] as [[Frankenstein's Monster|The Monster]], [[Elsa Lanchester]] as his Mate and [[Mary Shelley]], [[Colin Clive]] as Henry Frankenstein and [[Ernest Thesiger]] as [[Doctor Septimus Pretorius]].


The film immediately follows the events of the first film and is rooted in the [[Frankenstein|original novel]]. A subplot from the latter half of the book involves the Monster promising to leave Frankenstein, and the human race, alone if Frankenstein will create a mate for him. Frankenstein creates the female monster, but never brings it to life, deciding instead to destroy it.
"Industrial media" are commonly referred to as "traditional" or "mass" media<ref>http://www.justinkistner.com/archive/traditional-media-vs-industrial-media</ref>.


''Bride of Frankenstein'' was released to great critical and popular success. In the decades since its release, the film's reputation has grown and it is hailed as director James Whale's masterpiece. Some modern film scholars, noting the [[homosexuality]] of James Whale and others in the production, have found a gay sensibility in the film.
One characteristic shared by both social media and industrial media is the capability to reach small or large audiences; for example, either a blog post or a television show may reach zero people or millions of people.


<!--spacing, please do not remove-->
In his 2006 book ''[[The Wealth of Networks]]: How Social Production Transforms Markets and Freedom'', Yochai Benkler analyzed these distinctions and their implications in terms of both economics and political liberty. However, Benkler, like many academics, uses the neologism [[Network Economy]] or "network information economy"<ref>http://www.climate-change-two.net/wealth-of-networks/part-1.htm</ref> to describe the underlying economic, social, and technological characteristics of what has come to be known as "social media."


==Plot==
==Information outputs and human interaction==
The film opens with [[Mary Shelley]] ([[Elsa Lanchester]]), [[Percy Bysshe Shelley]] ([[Douglas Walton (actor)|Douglas Walton]]) and [[George Gordon Byron, 6th Baron Byron|Lord Byron]] ([[Gavin Gordon (actor)|Gavin Gordon]]) on a stormy night. Byron and Shelley praise Mary extravagantly for her creation of the story of Frankenstein and his monster. Mary, reminding them that her intention in writing the tale was to impart a moral lesson, advises that she has more of the story to tell. The scene shifts to the moments following the events at the end of ''Frankenstein''.
Primarily, social media depend on interactions between people as the discussion and integration of words to build shared-meaning, using technology as a conduit.


Villagers gathered around the burning windmill cheer the apparent death of the Monster (Karloff). Their joy is tempered by the realization that [[Henry Frankenstein]] ([[Colin Clive]]) is also apparently dead. Hans ([[Reginald Barlow]]), father of the young girl the creature drowned, wants to see the Monster's blackened bones. He falls into a pit underneath the mill, where the Monster, having survived the fire, strangles him. Hauling himself from the pit, the Monster grabs Hans' wife (Mary Gordon) and casts her into the pit to her death. He next encounters Minnie ([[Una O'Connor]]), who flees in terror.
Social media utilities create opportunities for the use of both inductive and deductive logic by their users. Claims or warrants are quickly transitioned into generalizations due to the manner in which shared statements are posted and viewed by all. The speed of communication, breadth, and depth, and ability to see how the words build a case solicits the use of rhetoric. Induction is frequently used as a means to validate or authenticate different users' statements and words. Rhetoric is an important part of today’s language in social media.


Henry is returned to his ancestral castle home. His fiancée Elizabeth ([[Valerie Hobson]]) has his body brought inside. Minnie arrives at the castle and tries to sound the alarm about the Monster but she is not believed. Elizabeth mourns Henry's death on the night before their scheduled wedding, but he moves and she realizes that he still lives.
Social media is not finite: there is not a set number of pages or hours. The audience can participate in social media by adding comments or even editing the stories themselves. Content in social media can take the form of text, graphics, audio, or video. Several formats can be mixed. Social media is typically available via feeds, enabling users to subscribe via feed readers, and allowing other publishers to create mashups.


Elizabeth nurses Henry back to health. He has repented his creation but still believes he may be destined to unlock the secret of life and immortality. A hysterical Elizabeth cries that she sees death coming for Henry, foreshadowing the appearance at the castle door of [[Doctor Septimus Pretorius]] ([[Ernest Thesiger]]), Henry's former mentor. Pretorius entreats Henry to accompany him to see the results of his own experiments in "[[Playing god|playing God]]." At Pretorius' rooms, he shows Henry several [[Homunculus|homunculi]] he had created, including a miniature queen, king, archbishop, devil, ballerina and mermaid. Pretorius wishes to combine his skills with Henry's to create a mate for Frankenstein's monster. Doctor Pretorius offers a toast to their joint venture; "To a new world of gods and monsters!"
==Social media marketing==
"Social media" signifies a broad spectrum of topics and has several different connotations. In the context of Internet marketing, Social Media refers to a collective group of web properties whose content is primarily published by users, not direct employees of the property (e.g. the vast majority of video on YouTube is published by non-YouTube employees). [[Social media optimization]] (SMO) is the process of trying to get one's content more widely distributed across multiple social media services.


The Monster lurches through the woods and saves a young shepherdess from drowning; however, her screams upon seeing him alert two passing hunters, who shoot and injure the creature. The hunters raise an angry mob that sets out in pursuit of the Monster. They capture him and truss him to a pole. The mob hauls the Monster to a dungeon and chains him. Left alone, the creature easily breaks his chains and escapes.
Social media marketing has two important aspects. The first, SMO, refers to on-page tactics through which a webmaster can improve a website for the age of social media. Such optimization includes adding links to services such as Digg, Reddit and Del.icio.us so that their pages can be easily 'saved and submitted' to and for these services.


That night the Monster encounters a gypsy family. In trying to steal the meat they are roasting, he burns his hand in their campfire. Following the sound of a violin playing "[[Ave Maria (Gounod)|Ave Maria]]", the Monster encounters an old blind [[hermit]] ([[O. P. Heggie]]), who thanks God for sending him a friend. He teaches the monster how to speak such words as "friend" and "good," and shares a meal with him. Sadly, two lost hunters stumble onto the cottage and recognize the Monster. He attacks them and accidentally burns down the cottage as the hunters lead the hermit away.
Social media marketing, on the other hand, is an off-page characteristic of social media. This includes writing content that is remarkable, unique, and newsworthy. This content can then be marketed by popularizing it or even by creating a “viral” video on YouTube and other video sites. Social media is about being social so this off-page work can include getting involved in other similar blogs, forums, and niche communities. Search engine marketing (SEM) involves utilization of all available social networking platforms to brand a product using SEO techniques of communication, to the end consumer.


As another angry mob searches the countryside, the creature takes refuge in an underground crypt. There he spies on Pretorius and his cronies Karl ([[Dwight Frye]]) and Ludwig ([[Ted Billings]]) breaking open a grave. The henchmen depart; Pretorius stays behind to enjoy a light supper. The Monster approaches him ("Oh hello, I thought I was alone!") and Pretorius reveals his plan to make the Monster a mate.
According to Lloyd Salmons, first chairman of the Internet Advertising Bureau social media council "Social media isn't just about big networks like Facebook and MySpace, it's about brands having conversations."<ref>[http://www.mad.co.uk/Main/News/Articlex/3b071a0de50744d08a83156f1a4ebcab/IAB-appoints-first-social-media-council-chair.html IAB appoints first social media council chair]</ref>


Henry and Elizabeth are now married and Pretorius calls on Henry, ready for him to do his part of their "grand collaboration." Henry refuses and Pretorius calls in the Monster, who demands Henry's help. Henry again refuses. Pretorius orders the Monster out. As Pretorius closes the door he utters "Now" to the Monster. As part of a pre-conceived plan, the creature kidnaps Elizabeth. Pretorius assures her safe return once Henry agrees to participate.
== Examples ==
Social media can take many different forms, including [[Internet forum]]s, [[Blog|weblogs]], [[wikis]], [[podcast]]s, pictures and video. Technologies include: [[blog]]s, picture-sharing, [[vlog]]s, wall-postings, [[email]], [[instant messaging]], music-sharing, [[crowdsourcing]], and [[voice over IP]], to name a few. Examples of social media applications are [[Google Groups]] (reference, social networking), [[Wikipedia]] (reference), [[MySpace]] (social networking), [[Facebook]] (social networking), [[Youmeo]] (social network aggregation), [[Last.fm]] (personal music), [[YouTube]] (social networking and video sharing), [[Avatars United]] (social networking), [[Second Life]] (virtual reality), [[Flickr]] (photo sharing), [[Twitter]] (social networking and microblogging) and
other [[microblog]]s such as [[Jaiku]] and [[Pownce]]. Many of these social media services can be integrated via [[social network aggregation]] platforms like [[Mybloglog]] and [[Plaxo]].


Henry, beaten, returns to his tower laboratory to complete the creation of the Monster's mate. In spite of himself, Henry grows excited over his work. After being reassured of Elizabeth's safety (after talking to her on an [[anachronism|anachronistic]] telephone), Henry completes with Pretorius the assembly of the female's body.
'''Proposed Taxonomy for Social Media:'''


As a storm rages, the final preparations are made to bring the Monster's mate to life. Her bandage-wrapped body is raised through the roof. Lightning strikes a kite, sending electricity through the female's form. Henry and Pretorius lower her and realize their success. "She's alive! Alive!" Henry cries. They remove her bandages and help her to stand. "The bride of Frankenstein!" Doctor Pretorius declares.
Mass Communication Networks - These networks enable members to simultaneously send messages to multiple other members. This is what makes them the most powerful from a social marketing perspective. The idea here is that you can use a Mass Communication network to get your message out to a large number of people.


The excited Monster sees his mate. He reaches out to her. "Friend?" he asks. The bride, screaming, rejects him. The creature tries again and the bride again rejects him in terror. "She hate me! Like others", the Monster says dejectedly. As Elizabeth races to Henry's side, the Monster rampages through the laboratory. "Go! You live!", he tells Henry and Elizabeth. To Pretorius and the bride he says "You stay. We belong dead." Henry and Elizabeth flee. The Monster, shedding a tear as his bride hisses at him, pulls a lever causing the laboratory and tower to be destroyed.
Community Networks - These networks develop a sense of community, but the key difference is they do not enable members to simultaneously send messages to multiple other members. The exception may be a forum, but that requires effort on the part of the intended recipient to find the message.


==Production==
Directory Networks - These networks provide an opportunity to add your content to a searchable directory.
The studio had considered the idea of making a sequel to ''Frankenstein'' as early as the preview screenings of the film, following the changing of the original ending to allow for Henry Frankenstein's survival. Screenwriter [[Robert Florey]] wrote a [[Film treatment|treatment]] entitled ''The New Adventures of Frankenstein &ndash; The Monster Lives!'' but it was rejected early in 1932. Universal staff writer Tom Reed wrote a treatment under the title ''The Return of Frankenstein''. Following its acceptance in 1933, Reed wrote a full script that was submitted to the [[Production Code|Hayes office]] for review. The script passed the Hays office review but James Whale, who by then had been attached to direct, opined that it "[stank] to high heaven". [[L. G. Blochman]] and [[Philip MacDonald]] were next assigned to the script but Whale found their work unsatisfactory as well. In 1934, Whale had [[John L. Balderston]] set to work on yet another version. It was Balderston who decided to return to an incident from the novel in which the creature demands a mate and who created the Mary Shelley prologue. After several months, Whale was still not satisfied with Balderston's work and handed the project to playwright [[William J. Hurlbut]] and [[Edmund Pearson]]. The final script, combining elements of a number of these versions, was submitted for Hays office review in November 1934.<ref>{{cite book | last =Curtis | first =James | authorlink = | coauthors = | title =James Whale: A New World of Gods and Monsters | publisher =Faber and Faber |date=1998 | location =Boston | pages =234-6 | isbn =0571192858 }}</ref>


Colin Clive and Boris Karloff reprised their roles from ''Frankenstein'' as creator and creation, respectively. Dwight Frye also returned for the sequel to play the doctor's assistant Karl, having played the hunchback Fritz in the original. Sources report that [[Bela Lugosi]] and [[Claude Rains]] were considered, with varying degrees of seriousness, for the role of Frankenstein's mentor Pretorius;<ref>{{cite book | last =Lennig | first =Arthur | authorlink = | coauthors = | title =The Immortal Count: The Life and Films of Bela Lugosi | publisher =University Press of Kentucky |date=1993 | location = | pages =92 | url = | doi = | id = | isbn = 0813122732}}</ref> others report that the role was created specifically for Ernest Thesiger.<ref>{{cite book | last =Skal | first =David J. | authorlink = | coauthors = | title =The Monster Show: A Cultural History of Horror | publisher =Penguin Books |date=1993 | location = | pages =185 | isbn = 0140240020}}</ref> Replacing [[Mae Clarke]] as Henry Frankenstein's love interest Elizabeth was [[Valerie Hobson]]. Early in production, director Whale decided that the same actress cast to play the Bride should also play Mary Shelley in the film's prologue. Elsa Lanchester, who had accompanied husband [[Charles Laughton]] to Hollywood, had met with only moderate success while Laughton achieved fame in several films (including Whale's own ''[[The Old Dark House]]'') and won an [[Academy Award]] for his role in ''[[The Private Life of Henry VIII]]''. Lanchester had returned alone to London when Whale contacted her to offer her the dual role.<ref name=lanchester>Curtis p. 243-4</ref>
Specialty Networks - The Specialty Networks are the long tail of Social Media. As more people add networks, this group will be the most exciting (for reaching specific market segments).


[[Image:Brideoffrankenstein.jpg|thumb|225px|right|Elsa Lanchester and Boris Karloff in "Bride of Frankenstein". The bride's conical hairdo, with its white lightning-trace streaks on each side, has become an iconic symbol of both the character and the film.]]
Here is a [http://www.aidantaylor.com/page1 Directory of Networks] organized according to the above taxonomy.
Universal makeup artist [[Jack Pierce (make-up artist)|Jack Pierce]] paid special attention to the Monster's appearance in this film. He altered his 1931 design to display the after-effects of the mill fire, adding scars and shortening the Monster's hair.<ref>Curtis p. 237</ref> Pierce also co-created the Bride's makeup, with strong input from Whale, especially regarding the Bride's [[Secular icon|iconic]] hair style.<ref name=lanchester/>


[[Kenneth Strickfaden]] created and maintained the laboratory equipment. The man behind the special photographic effects in ''Bride of Frankenstein'' was [[John P. Fulton]], head of the special effects department at Universal Studios at the time.<ref>{{cite book | last =Picart | first =Carolyn Joan | authorlink = | coauthors =Frank Smoot, Jayne Blodgett | title =The Frankenstein Film Sourcebook | publisher =Greenwood Press |date=2001 | location = | pages =39 | isbn =0313313504 }}</ref>
==Social media software applications==
Examples of social media applications include:


The film went into production with a projected budget of US$293,750 which was almost exactly the budget of the original, and an estimated 36 day shooting schedule.<ref>Curtis p. 241</ref> Shooting was completed on March 7, 1935, ten days over schedule and approximately $100,000 over budget.<ref>Curtis p. 249</ref>
===Communication===
* '''[[Blogs]]''': [[Blogger (service)]], [[Livejournal]], [[TypePad]], [[Wordpress]], [[Vox]],
* '''[[Microblogs]] / Presence apps''': [[Twitter]] and [[Pownce]]
* '''[[Social networking]]''': [[Avatars United]],[[Bebo]], [[Facebook]], [[LinkedIn]], [[MySpace]], [[Orkut]], [[Skyrock]]
* '''[[Social network aggregation]]''': [[FriendFeed]], [[Youmeo]]
* '''Events''': [[Upcoming.org]], [[Eventful]]


Boris Karloff is credited simply as '''KARLOFF''', which was Universal's custom during the height of his career. Elsa Lanchester is credited for the role of Mary Shelley, but in a nod to the earlier film, the monster's bride is credited only as "?" just as Boris Karloff had been in the opening credits of the first film.
===Collaboration===
* '''[[Wikis]]''': [[Wikipedia]], [[PBwiki]]
* '''[[Social bookmarking]]''': [[del.icio.us]], [[StumbleUpon]]
* '''[[social news|Social News Sites]]''': [[Digg]], [[Mixx]], [[Reddit]]
* '''Opinion sites''': [[epinions]], [[Yelp]]


===Multimedia===
==Cast==
* [[Boris Karloff]] - The Monster (as Karloff)
* '''Photo sharing''': [[Flickr]], [[Zooomr]], [[Photobucket]], [[SmugMug]]
* [[Colin Clive]] - Baron Henry von Frankenstein
* '''Video sharing''': [[YouTube]], [[Vimeo]]
* [[Valerie Hobson]] - Elizabeth von Frankenstein
* '''Livecasting''': [[Ustream]], [[Justin.tv]], [[Stickam]]
* [[Ernest Thesiger]] - Dr. Pretorius
* '''Audio and Music Sharing''': [[imeem]], [[The Hype Machine]], [[Last.fm]], [[ccMixter]]
* [[Elsa Lanchester]] - Mary Wollstonecraft Shelley / The Monster's Mate
* [[Gavin Gordon (actor)|Gavin Gordon]] - Lord Byron
* [[Douglas Walton (actor)|Douglas Walton]] - Percy Shelley
* [[Una O'Connor]] - Minnie - Housekeeper
* [[E. E. Clive]] - Burgomaster
* [[Lucien Prival]] - Albert - Butler
* [[O. P. Heggie]] - Hermit
* [[Dwight Frye]] - Karl
* [[Reginald Barlow]] - Hans
* [[Mary Gordon (actor)|Mary Gordon]] - Hans' Wife
* [[Anne Darling]] - Shepherdess (as Ann Darling)


===Entertainment===
==Censorship==
''Bride of Frankenstein'' was subjected to [[censorship]], during production by the Hays office, and following its release by local and national censorship boards. [[Joseph I. Breen]], lead censor for the Hays office, objected to lines of dialogue in the original submitted script in which Henry Frankenstein and his work were compared to that of God. He would continue to object to such dialogue in revised scripts<ref>Skal p. 187-91</ref> and to a planned shot of the Monster rushing through a graveyard to a figure of a crucified Jesus and attempting to "rescue" the figure from the cross.<ref>Curtis p. 247</ref> The censor's office, upon reviewing the film in March 1935, required a number of cuts. Whale agreed to delete a sequence in which Dwight Frye kills his uncle and blames the Monster<ref>Curtis p. 250</ref> and shots of Elsa Lanchester as Mary Shelley in which Breen felt too much of her breasts were visible. Curiously, despite his earlier objection, Breen offered no objection to the [[cruciform]] imagery throughout the film &mdash; including a scene with the Monster lashed Christ-like to a pole &mdash; nor to the presentation of Pretorius as a coded [[homosexual]].<ref>Skal p. 187-91</ref> ''Bride of Frankenstein'' was approved by the Production Code office on April 15, 1935.<ref>Curtis p. 250</ref>
* '''[[Virtual worlds]]''': [[Second Life]]
* '''Online gaming''': [[World of Warcraft]]
* '''Game sharing''': [[Miniclip.com]]


Following its release with the Code seal of approval, the film was challenged by the censorship board in the state of [[Ohio]], was voluntarily withdrawn by Universal from [[Sweden]] because of the extensive cuts demanded and was rejected outright by [[Trinidad]], [[Palestine]] and [[Hungary]]. One unusual objection, from Japanese censors, was that the scene in which Pretorius chases his miniature [[Henry VIII]] with tweezers constituted "making a fool out of a king."<ref>Skal p. 187-91</ref>
==See also==


==Reception==
* [[Web 2.0]]
The film was profitable for Universal. A 1943 report showed that as of that time the film had earned approximately [[US$]]2 million for the studio, roughly double its initial costs.<ref>Curtis p. 251</ref> It was nominated for one [[Academy Award]], for Best Sound Recording.<ref>{{cite web | title =Bride of Frankenstein Awards | publisher =[[Allmovie]] | url =http://wm04.allmovie.com/cg/avg.dll?p=avg&sql=1:7091~T4 | accessdate = 2008-01-09}}</ref> ''Bride of Frankenstein'' was critically praised upon its release, although some reviewers did [[wiktionary:qualify|qualify]] their opinions based on the film's being in the horror genre. The ''[[New York World-Telegram]]'' called the film "good entertainment of its kind." The ''[[New York Post]]'' described it as "a grotesque, gruesome tale which, of its kind, is swell." The ''[[Hollywood Reporter]]'' similarly called the film "a joy for those who can appreciate it."<ref>Curtis pp. 250-1</ref> ''[[Variety (magazine)|Variety]]'' did not so qualify its review. "[It is] one of those rare instances where none can review it, or talk about it, without mentioning the cameraman, art director, and score composer in the same breath as the actors and director." They also praised the cast, writing that "Karloff manages to invest the character with some subtleties of emotion that are surprisingly real and touching [...] Thesiger as Dr Pretorious [is] a diabolic characterization if ever there was one [...] Lanchester handles two assignments, being first in a preamble as author Mary Shelley and then the created woman. In latter assignment she impresses quite highly".<ref>{{cite news | last =Variety staff | title = Bride of Frankenstein | publisher =[[Variety (magazine)|Variety]] | date = [[1935-01-01]] | url = http://www.variety.com/review/VE1117789526.html?categoryid=31&cs=1&p=0 | accessdate = 2008-01-06}}</ref>
* [[New_media|New Media]]

* [[User-generated content]]
In another unqualified review, ''[[Time (magazine)|TIME]]'' wrote that the film had "a vitality that makes their efforts fully the equal of the original picture....Screenwriters Hurlbut & Balderston and Director James Whale have given it the macabre intensity proper to all good horror pieces, but have substituted a queer kind of mechanistic pathos for the sheer evil that was ''Frankenstein''."<ref>{{cite news | title = The New Pictures | publisher = [[Time (magazine)|TIME]] | date =[[1935-04-29]] | url =http://www.time.com/time/magazine/article/0,9171,754638-2,00.html | accessdate = 2008-01-06}}</ref> The ''[[Oakland Tribune]]'' concurred it was "a fantasy produced on a rather magnificent scale, with excellent stagecraft and fine photographic effects".<ref>{{cite news | last =Soanes | first =Wood | title = Frankenstein stalks again in Roxie play | publisher = [[Oakland Tribune]] | date =[[1935-05-25]]}}</ref> While the ''[[Winnipeg Free Press]]'' thought that the electrical equipment might have been better suited to [[Buck Rogers]], nonetheless the reviewer praised the film as "exciting and sometimes morbidly gruesome," declaring that "All who enjoyed ''Frankenstein'' will welcome his ''Bride'' as a worthy successor."<ref>{{cite news | title = Lyceum screens "Monster" sequel | publisher = [[Winnipeg Free Press]] | date =[[1935-05-24]]}}</ref>
* [[Social television]]

* [[Social media optimization]]
The film's reputation has persisted and grown in the decades since its release. In 1998, the film was added to the United States [[National Film Registry]], having been determined to be "culturally, historically or aesthetically significant."<ref>{{cite news | title ='Easy Rider' now listed on National Film Registry | publisher =[[CNN]] | date =[[1998-11-17]] | url =http://www.cnn.com/SHOWBIZ/News/9811/17/showbuzz/ | accessdate = 2008-01-06}}</ref><ref>{{cite web | title =Films Selected to The National Film Registry, Library of Congress 1989-2007 | publisher =Library of Congress | url =http://www.loc.gov/film/titles.html | accessdate = 2008-01-08}}</ref> Frequently identified as James Whale's masterpiece,<ref>{{cite news | last =Graham | first =Bob | title = `Bride' Is as Lovely as Ever | publisher = [[San Francisco Chronicle]] | date =[[1998-10-09]] | url =http://www.sfgate.com/cgi-bin/article.cgi?file=/c/a/1998/10/09/DD32378.DTL&type=printable | accessdate = 2008-01-08}}</ref> the film is lauded as "the finest of all [[gothic horror]] movies."<ref>{{cite news | last =French | first =Philip | title = Films of the Day: The Bride of Frankenstein | publisher=[[The Observer]] | date =[[2007-12-02]]}}</ref> ''Time'' rated ''Bride of Frankenstein'' in its "ALL-TIME 100 Movies," with critics [[Richard Corliss]] and [[Richard Schickel]] overruling the magazine's original review to declare the film "one of those rare sequels that is infinitely superior to its source."<ref>{{cite news | last =Corliss | first =Richard | coauthors =Richard Schickel | title = ALL-TIME 100 Movies | publisher = [[Time (magazine)|TIME]] | date = | url =http://www.time.com/time/2005/100movies/0,23220,bride_of_frankenstein,00.html | accessdate = 2008-01-06}}</ref> 100% of the thirty-eight reviews on ''[[Rotten Tomatoes]]'' are positive, with an average rating of 8.9/10.<ref>{{cite web | title = Bride of Frankenstein | publisher = [[Rotten Tomatoes]] | url = http://www.rottentomatoes.com/m/bride_of_frankenstein/ | accessdate=2008-01-10}}</ref>
* [[Social media measurement]]

* [[Social web]]
==Homosexual interpretations==
* [[Online research community]]
In the decades since its release, modern film scholars have noted the possible [[gay]] reading of the film. Director James Whale was openly gay and a number of the creative people associated with the cast, including Ernest Thesiger and Colin Clive,<ref name = Bright>{{cite journal
* [[Virtual community]]
| last =Morris
| first =Gary
| authorlink =
| coauthors =
| title =Sexual Subversion: The Bride of Frankenstein
| journal =Bright Lights Film Journal
| volume =
| issue =19
| pages =
| publisher =
| location =
| date =July 1997
| url =http://www.brightlightsfilm.com/19/19_bride1.html
| doi =
| id =
| accessdate = 2008-01-07}}</ref> were alleged to be gay or bisexual. Although Whale's biographer rejects the notion that Whale would have identified with the Monster from a homosexual perspective,<ref>Curtis p. 144</ref> scholars have identified a gay sensibility suffused through the film, especially a [[Camp (style)|camp]] sensibility,<ref>Skal p. 184</ref> especially embodied in the character of Pretorius and his relationship with Henry.

Gay film historian [[Vito Russo]], in considering Pretorius, stops short of identifying the character as gay, instead referring to him as "sissified"<ref>{{cite book
| last =Russo
| first =Vito
| authorlink =
| coauthors =
| title =The Celluloid Closet: Homosexuality in the Movies (revised edition)
| publisher =HarperCollins
| date =1987
| location =New York
| pages =50
| url =
| doi =
| id =
| isbn =0060961325 }}</ref> ("sissy" itself being Hollywood code for "homosexual"). Pretorius serves as a "gay [[Mephistopheles]],"<ref>Skal p. 185</ref> a figure of seduction and temptation, going so far as to pull Frankenstein away from his bride on their wedding night to engage in the unnatural act of non-procreative life. A novelisation of the film published in England made the implication clear, having Pretorius say to Frankenstein "'Be fruitful and multiply.' Let us obey the Biblical injunction: you of course, have the choice of natural means; but as for me, I am afraid that there is no course open to me but the scientific way."<ref>Egremont, Michael, quoted in Skal p. 189</ref>

The Monster, whose affections for the male hermit and the female Bride he discusses with identical language ("friend") has been read as sexually "unsettled" and bisexual.<ref name = Bright /> "He has no innate understanding that the male-female bond he is to forge with the bride is assumed to be the primary one or that it carries a different sexual valence from his relationships with [Pretorius and the hermit]: all affective relationships are as easily 'friendships' as 'marriages'."<ref>{{cite book
| last =Gelder
| first =Ken
| authorlink =
| coauthors =
| title =The Horror Reader
| publisher =Routledge
| date =2000
| location =New York
| pages =132
| url =
| doi =
| id =
| isbn =041521355X }}</ref> Indeed, his relationship with the hermit has been interpreted as a same-sex marriage that heterosexual society will not tolerate: "No mistake — this is a marriage, and a viable one....But Whale reminds us quickly that society does not approve. The monster — the outsider — is driven from his scene of domestic pleasure by two gun-toting rubes who happen upon this startling alliance and quickly, instinctively, proceed to destroy it."<ref name = Bright />

==See also==
* [[The Bride (film)|''The Bride'']]
* ''[[Gods and Monsters]]''
* [[Boris Karloff filmography]]


==References==
==Notes==
{{reflist}}
{{Reflist|2}}


==Further reading==
==External links==
{{wikiquote}}
* {{imdb title|0026138}}
* {{tcmdb title|69663}}
* {{amg movie|1:7091}}
* [http://www.rottentomatoes.com/m/bride_of_frankenstein/ ''Bride of Frankenstein''] at [[Rotten Tomatoes]]


<!--spacing, please do not remove-->
*Benkler, Yochai (2006). [[The Wealth of Networks]]. New Haven: Yale University Press
*Johnson, Steven (2005). Everything Bad is Good for You: How Today’s Popular Culture Is Actually Making Us Smarter. New York: Riverhead Books
*Scoble, Robert, Israel, Shel (2006). Naked Conversations: How Blogs are Changing the Way Businesses Talk with Customers. New York: Wiley & Sons
*Surowiecki, James (2005). The Wisdom of Crowds. New York: Anchor Books
*Tapscott, Don, Williams, Anthony D. (2006). Wikinomics, How Mass Collaboration Changes Everything. New York: Portfolio


{{Frankenstein}}
== External links ==
{{Universal Horror}}
* [http://www.icwsm.org/ International Conference on Weblogs and Social Media]
{{American films}}
* [http://www.socialmediaclub.org/ Social Media Club]
* [http://www.socialmediamagazine.com/ Social Media Magazine Online]
* [http://www.snama.org/ Social Networking and Media Association (SNAMA)]
* [http://www.newscloud.org/index.php/Social_media_toolkit An Open Source Social Media Toolkit]


[[Category:Social media| ]]
[[Category:1930s horror films]]
[[Category:Social Information Processing]]
[[Category:1935 films]]
[[Category:American films]]
[[Category:Black and white films]]
[[Category:Comedy horror films]]
[[Category:English-language films]]
[[Category:Films based on horror novels]]
[[Category:Films directed by James Whale]]
[[Category:Frankenstein films]]
[[Category:LGBT-related films]]
[[Category:Science fiction horror films]]
[[Category:Sequel films]]
[[Category:Steampunk films]]
[[Category:United States National Film Registry films]]
[[Category:Universal Pictures films]]


[[bn:ব্রাইড অফ ফ্রাঙ্কেনস্টাইন]]
[[de:Social Media]]
[[fr:Social media]]
[[de:Frankensteins Braut]]
[[et:Frankensteini pruut]]
[[ko:소셜 미디어]]
[[es:La novia de Frankenstein]]
[[it:Social media]]
[[fr:La Fiancée de Frankenstein]]
[[mk:Социјални медиуми]]
[[it:La moglie di Frankenstein]]
[[pt:Mídias sociais]]
[[ja:フランケンシュタインの花嫁]]
[[fi:Sosiaalinen media]]
[[no:Bride of Frankenstein]]
[[sv:Sociala medier]]
[[pl:Narzeczona Frankensteina]]
[[vi:Truyền thông xã hội]]
[[pt:Bride of Frankenstein]]
[[zh:社会媒体]]
[[ru:Невеста Франкенштейна (фильм, 1935)]]
[[fi:Frankensteinin morsian]]
[[sv:Frankensteins brud]]

Revision as of 16:10, 10 October 2008

Bride of Frankenstein
File:Brideoffrankposter.jpg
theatrical poster
Directed byJames Whale
Written byMary Shelley (novel)
William Hurlbut (screenplay and adaptation)
John L. Balderston (adaptation)
Produced byCarl Laemmle Jr.
StarringBoris Karloff
Colin Clive
Valerie Hobson
Ernest Thesiger
Elsa Lanchester
Una O'Connor
CinematographyJohn J. Mescall
Edited byTed Kent
Music byFranz Waxman
Distributed byUniversal Pictures
Release date
April 22, Template:Fy (US)
Running time
75 minutes
CountryTemplate:FilmUS
LanguageTransclusion error: {{En}} is only for use in File namespace. Use {{lang-en}} or {{in lang|en}} instead.
BudgetUS$393,750

Bride of Frankenstein (advertised as The Bride of Frankenstein) is a Template:Fy science fiction/horror film. The movie is the first sequel to the influential film Frankenstein (1931). Bride of Frankenstein was directed by James Whale and stars Boris Karloff as The Monster, Elsa Lanchester as his Mate and Mary Shelley, Colin Clive as Henry Frankenstein and Ernest Thesiger as Doctor Septimus Pretorius.

The film immediately follows the events of the first film and is rooted in the original novel. A subplot from the latter half of the book involves the Monster promising to leave Frankenstein, and the human race, alone if Frankenstein will create a mate for him. Frankenstein creates the female monster, but never brings it to life, deciding instead to destroy it.

Bride of Frankenstein was released to great critical and popular success. In the decades since its release, the film's reputation has grown and it is hailed as director James Whale's masterpiece. Some modern film scholars, noting the homosexuality of James Whale and others in the production, have found a gay sensibility in the film.


Plot

The film opens with Mary Shelley (Elsa Lanchester), Percy Bysshe Shelley (Douglas Walton) and Lord Byron (Gavin Gordon) on a stormy night. Byron and Shelley praise Mary extravagantly for her creation of the story of Frankenstein and his monster. Mary, reminding them that her intention in writing the tale was to impart a moral lesson, advises that she has more of the story to tell. The scene shifts to the moments following the events at the end of Frankenstein.

Villagers gathered around the burning windmill cheer the apparent death of the Monster (Karloff). Their joy is tempered by the realization that Henry Frankenstein (Colin Clive) is also apparently dead. Hans (Reginald Barlow), father of the young girl the creature drowned, wants to see the Monster's blackened bones. He falls into a pit underneath the mill, where the Monster, having survived the fire, strangles him. Hauling himself from the pit, the Monster grabs Hans' wife (Mary Gordon) and casts her into the pit to her death. He next encounters Minnie (Una O'Connor), who flees in terror.

Henry is returned to his ancestral castle home. His fiancée Elizabeth (Valerie Hobson) has his body brought inside. Minnie arrives at the castle and tries to sound the alarm about the Monster but she is not believed. Elizabeth mourns Henry's death on the night before their scheduled wedding, but he moves and she realizes that he still lives.

Elizabeth nurses Henry back to health. He has repented his creation but still believes he may be destined to unlock the secret of life and immortality. A hysterical Elizabeth cries that she sees death coming for Henry, foreshadowing the appearance at the castle door of Doctor Septimus Pretorius (Ernest Thesiger), Henry's former mentor. Pretorius entreats Henry to accompany him to see the results of his own experiments in "playing God." At Pretorius' rooms, he shows Henry several homunculi he had created, including a miniature queen, king, archbishop, devil, ballerina and mermaid. Pretorius wishes to combine his skills with Henry's to create a mate for Frankenstein's monster. Doctor Pretorius offers a toast to their joint venture; "To a new world of gods and monsters!"

The Monster lurches through the woods and saves a young shepherdess from drowning; however, her screams upon seeing him alert two passing hunters, who shoot and injure the creature. The hunters raise an angry mob that sets out in pursuit of the Monster. They capture him and truss him to a pole. The mob hauls the Monster to a dungeon and chains him. Left alone, the creature easily breaks his chains and escapes.

That night the Monster encounters a gypsy family. In trying to steal the meat they are roasting, he burns his hand in their campfire. Following the sound of a violin playing "Ave Maria", the Monster encounters an old blind hermit (O. P. Heggie), who thanks God for sending him a friend. He teaches the monster how to speak such words as "friend" and "good," and shares a meal with him. Sadly, two lost hunters stumble onto the cottage and recognize the Monster. He attacks them and accidentally burns down the cottage as the hunters lead the hermit away.

As another angry mob searches the countryside, the creature takes refuge in an underground crypt. There he spies on Pretorius and his cronies Karl (Dwight Frye) and Ludwig (Ted Billings) breaking open a grave. The henchmen depart; Pretorius stays behind to enjoy a light supper. The Monster approaches him ("Oh hello, I thought I was alone!") and Pretorius reveals his plan to make the Monster a mate.

Henry and Elizabeth are now married and Pretorius calls on Henry, ready for him to do his part of their "grand collaboration." Henry refuses and Pretorius calls in the Monster, who demands Henry's help. Henry again refuses. Pretorius orders the Monster out. As Pretorius closes the door he utters "Now" to the Monster. As part of a pre-conceived plan, the creature kidnaps Elizabeth. Pretorius assures her safe return once Henry agrees to participate.

Henry, beaten, returns to his tower laboratory to complete the creation of the Monster's mate. In spite of himself, Henry grows excited over his work. After being reassured of Elizabeth's safety (after talking to her on an anachronistic telephone), Henry completes with Pretorius the assembly of the female's body.

As a storm rages, the final preparations are made to bring the Monster's mate to life. Her bandage-wrapped body is raised through the roof. Lightning strikes a kite, sending electricity through the female's form. Henry and Pretorius lower her and realize their success. "She's alive! Alive!" Henry cries. They remove her bandages and help her to stand. "The bride of Frankenstein!" Doctor Pretorius declares.

The excited Monster sees his mate. He reaches out to her. "Friend?" he asks. The bride, screaming, rejects him. The creature tries again and the bride again rejects him in terror. "She hate me! Like others", the Monster says dejectedly. As Elizabeth races to Henry's side, the Monster rampages through the laboratory. "Go! You live!", he tells Henry and Elizabeth. To Pretorius and the bride he says "You stay. We belong dead." Henry and Elizabeth flee. The Monster, shedding a tear as his bride hisses at him, pulls a lever causing the laboratory and tower to be destroyed.

Production

The studio had considered the idea of making a sequel to Frankenstein as early as the preview screenings of the film, following the changing of the original ending to allow for Henry Frankenstein's survival. Screenwriter Robert Florey wrote a treatment entitled The New Adventures of Frankenstein – The Monster Lives! but it was rejected early in 1932. Universal staff writer Tom Reed wrote a treatment under the title The Return of Frankenstein. Following its acceptance in 1933, Reed wrote a full script that was submitted to the Hayes office for review. The script passed the Hays office review but James Whale, who by then had been attached to direct, opined that it "[stank] to high heaven". L. G. Blochman and Philip MacDonald were next assigned to the script but Whale found their work unsatisfactory as well. In 1934, Whale had John L. Balderston set to work on yet another version. It was Balderston who decided to return to an incident from the novel in which the creature demands a mate and who created the Mary Shelley prologue. After several months, Whale was still not satisfied with Balderston's work and handed the project to playwright William J. Hurlbut and Edmund Pearson. The final script, combining elements of a number of these versions, was submitted for Hays office review in November 1934.[1]

Colin Clive and Boris Karloff reprised their roles from Frankenstein as creator and creation, respectively. Dwight Frye also returned for the sequel to play the doctor's assistant Karl, having played the hunchback Fritz in the original. Sources report that Bela Lugosi and Claude Rains were considered, with varying degrees of seriousness, for the role of Frankenstein's mentor Pretorius;[2] others report that the role was created specifically for Ernest Thesiger.[3] Replacing Mae Clarke as Henry Frankenstein's love interest Elizabeth was Valerie Hobson. Early in production, director Whale decided that the same actress cast to play the Bride should also play Mary Shelley in the film's prologue. Elsa Lanchester, who had accompanied husband Charles Laughton to Hollywood, had met with only moderate success while Laughton achieved fame in several films (including Whale's own The Old Dark House) and won an Academy Award for his role in The Private Life of Henry VIII. Lanchester had returned alone to London when Whale contacted her to offer her the dual role.[4]

Elsa Lanchester and Boris Karloff in "Bride of Frankenstein". The bride's conical hairdo, with its white lightning-trace streaks on each side, has become an iconic symbol of both the character and the film.

Universal makeup artist Jack Pierce paid special attention to the Monster's appearance in this film. He altered his 1931 design to display the after-effects of the mill fire, adding scars and shortening the Monster's hair.[5] Pierce also co-created the Bride's makeup, with strong input from Whale, especially regarding the Bride's iconic hair style.[4]

Kenneth Strickfaden created and maintained the laboratory equipment. The man behind the special photographic effects in Bride of Frankenstein was John P. Fulton, head of the special effects department at Universal Studios at the time.[6]

The film went into production with a projected budget of US$293,750 which was almost exactly the budget of the original, and an estimated 36 day shooting schedule.[7] Shooting was completed on March 7, 1935, ten days over schedule and approximately $100,000 over budget.[8]

Boris Karloff is credited simply as KARLOFF, which was Universal's custom during the height of his career. Elsa Lanchester is credited for the role of Mary Shelley, but in a nod to the earlier film, the monster's bride is credited only as "?" just as Boris Karloff had been in the opening credits of the first film.

Cast

Censorship

Bride of Frankenstein was subjected to censorship, during production by the Hays office, and following its release by local and national censorship boards. Joseph I. Breen, lead censor for the Hays office, objected to lines of dialogue in the original submitted script in which Henry Frankenstein and his work were compared to that of God. He would continue to object to such dialogue in revised scripts[9] and to a planned shot of the Monster rushing through a graveyard to a figure of a crucified Jesus and attempting to "rescue" the figure from the cross.[10] The censor's office, upon reviewing the film in March 1935, required a number of cuts. Whale agreed to delete a sequence in which Dwight Frye kills his uncle and blames the Monster[11] and shots of Elsa Lanchester as Mary Shelley in which Breen felt too much of her breasts were visible. Curiously, despite his earlier objection, Breen offered no objection to the cruciform imagery throughout the film — including a scene with the Monster lashed Christ-like to a pole — nor to the presentation of Pretorius as a coded homosexual.[12] Bride of Frankenstein was approved by the Production Code office on April 15, 1935.[13]

Following its release with the Code seal of approval, the film was challenged by the censorship board in the state of Ohio, was voluntarily withdrawn by Universal from Sweden because of the extensive cuts demanded and was rejected outright by Trinidad, Palestine and Hungary. One unusual objection, from Japanese censors, was that the scene in which Pretorius chases his miniature Henry VIII with tweezers constituted "making a fool out of a king."[14]

Reception

The film was profitable for Universal. A 1943 report showed that as of that time the film had earned approximately US$2 million for the studio, roughly double its initial costs.[15] It was nominated for one Academy Award, for Best Sound Recording.[16] Bride of Frankenstein was critically praised upon its release, although some reviewers did qualify their opinions based on the film's being in the horror genre. The New York World-Telegram called the film "good entertainment of its kind." The New York Post described it as "a grotesque, gruesome tale which, of its kind, is swell." The Hollywood Reporter similarly called the film "a joy for those who can appreciate it."[17] Variety did not so qualify its review. "[It is] one of those rare instances where none can review it, or talk about it, without mentioning the cameraman, art director, and score composer in the same breath as the actors and director." They also praised the cast, writing that "Karloff manages to invest the character with some subtleties of emotion that are surprisingly real and touching [...] Thesiger as Dr Pretorious [is] a diabolic characterization if ever there was one [...] Lanchester handles two assignments, being first in a preamble as author Mary Shelley and then the created woman. In latter assignment she impresses quite highly".[18]

In another unqualified review, TIME wrote that the film had "a vitality that makes their efforts fully the equal of the original picture....Screenwriters Hurlbut & Balderston and Director James Whale have given it the macabre intensity proper to all good horror pieces, but have substituted a queer kind of mechanistic pathos for the sheer evil that was Frankenstein."[19] The Oakland Tribune concurred it was "a fantasy produced on a rather magnificent scale, with excellent stagecraft and fine photographic effects".[20] While the Winnipeg Free Press thought that the electrical equipment might have been better suited to Buck Rogers, nonetheless the reviewer praised the film as "exciting and sometimes morbidly gruesome," declaring that "All who enjoyed Frankenstein will welcome his Bride as a worthy successor."[21]

The film's reputation has persisted and grown in the decades since its release. In 1998, the film was added to the United States National Film Registry, having been determined to be "culturally, historically or aesthetically significant."[22][23] Frequently identified as James Whale's masterpiece,[24] the film is lauded as "the finest of all gothic horror movies."[25] Time rated Bride of Frankenstein in its "ALL-TIME 100 Movies," with critics Richard Corliss and Richard Schickel overruling the magazine's original review to declare the film "one of those rare sequels that is infinitely superior to its source."[26] 100% of the thirty-eight reviews on Rotten Tomatoes are positive, with an average rating of 8.9/10.[27]

Homosexual interpretations

In the decades since its release, modern film scholars have noted the possible gay reading of the film. Director James Whale was openly gay and a number of the creative people associated with the cast, including Ernest Thesiger and Colin Clive,[28] were alleged to be gay or bisexual. Although Whale's biographer rejects the notion that Whale would have identified with the Monster from a homosexual perspective,[29] scholars have identified a gay sensibility suffused through the film, especially a camp sensibility,[30] especially embodied in the character of Pretorius and his relationship with Henry.

Gay film historian Vito Russo, in considering Pretorius, stops short of identifying the character as gay, instead referring to him as "sissified"[31] ("sissy" itself being Hollywood code for "homosexual"). Pretorius serves as a "gay Mephistopheles,"[32] a figure of seduction and temptation, going so far as to pull Frankenstein away from his bride on their wedding night to engage in the unnatural act of non-procreative life. A novelisation of the film published in England made the implication clear, having Pretorius say to Frankenstein "'Be fruitful and multiply.' Let us obey the Biblical injunction: you of course, have the choice of natural means; but as for me, I am afraid that there is no course open to me but the scientific way."[33]

The Monster, whose affections for the male hermit and the female Bride he discusses with identical language ("friend") has been read as sexually "unsettled" and bisexual.[28] "He has no innate understanding that the male-female bond he is to forge with the bride is assumed to be the primary one or that it carries a different sexual valence from his relationships with [Pretorius and the hermit]: all affective relationships are as easily 'friendships' as 'marriages'."[34] Indeed, his relationship with the hermit has been interpreted as a same-sex marriage that heterosexual society will not tolerate: "No mistake — this is a marriage, and a viable one....But Whale reminds us quickly that society does not approve. The monster — the outsider — is driven from his scene of domestic pleasure by two gun-toting rubes who happen upon this startling alliance and quickly, instinctively, proceed to destroy it."[28]

See also

Notes

  1. ^ Curtis, James (1998). James Whale: A New World of Gods and Monsters. Boston: Faber and Faber. pp. 234–6. ISBN 0571192858. {{cite book}}: Cite has empty unknown parameter: |coauthors= (help)
  2. ^ Lennig, Arthur (1993). The Immortal Count: The Life and Films of Bela Lugosi. University Press of Kentucky. p. 92. ISBN 0813122732. {{cite book}}: Cite has empty unknown parameter: |coauthors= (help)
  3. ^ Skal, David J. (1993). The Monster Show: A Cultural History of Horror. Penguin Books. p. 185. ISBN 0140240020. {{cite book}}: Cite has empty unknown parameter: |coauthors= (help)
  4. ^ a b Curtis p. 243-4
  5. ^ Curtis p. 237
  6. ^ Picart, Carolyn Joan (2001). The Frankenstein Film Sourcebook. Greenwood Press. p. 39. ISBN 0313313504. {{cite book}}: Unknown parameter |coauthors= ignored (|author= suggested) (help)
  7. ^ Curtis p. 241
  8. ^ Curtis p. 249
  9. ^ Skal p. 187-91
  10. ^ Curtis p. 247
  11. ^ Curtis p. 250
  12. ^ Skal p. 187-91
  13. ^ Curtis p. 250
  14. ^ Skal p. 187-91
  15. ^ Curtis p. 251
  16. ^ "Bride of Frankenstein Awards". Allmovie. Retrieved 2008-01-09.
  17. ^ Curtis pp. 250-1
  18. ^ Variety staff (1935-01-01). "Bride of Frankenstein". Variety. Retrieved 2008-01-06. {{cite news}}: Check date values in: |date= (help)
  19. ^ "The New Pictures". TIME. 1935-04-29. Retrieved 2008-01-06. {{cite news}}: Check date values in: |date= (help)
  20. ^ Soanes, Wood (1935-05-25). "Frankenstein stalks again in Roxie play". Oakland Tribune. {{cite news}}: Check date values in: |date= (help)
  21. ^ "Lyceum screens "Monster" sequel". Winnipeg Free Press. 1935-05-24. {{cite news}}: Check date values in: |date= (help)
  22. ^ "'Easy Rider' now listed on National Film Registry". CNN. 1998-11-17. Retrieved 2008-01-06. {{cite news}}: Check date values in: |date= (help)
  23. ^ "Films Selected to The National Film Registry, Library of Congress 1989-2007". Library of Congress. Retrieved 2008-01-08.
  24. ^ Graham, Bob (1998-10-09). "`Bride' Is as Lovely as Ever". San Francisco Chronicle. Retrieved 2008-01-08. {{cite news}}: Check date values in: |date= (help)
  25. ^ French, Philip (2007-12-02). "Films of the Day: The Bride of Frankenstein". The Observer. {{cite news}}: Check date values in: |date= (help)
  26. ^ Corliss, Richard. "ALL-TIME 100 Movies". TIME. Retrieved 2008-01-06. {{cite news}}: Unknown parameter |coauthors= ignored (|author= suggested) (help)
  27. ^ "Bride of Frankenstein". Rotten Tomatoes. Retrieved 2008-01-10.
  28. ^ a b c Morris, Gary (July 1997). "Sexual Subversion: The Bride of Frankenstein". Bright Lights Film Journal (19). Retrieved 2008-01-07. {{cite journal}}: Cite has empty unknown parameter: |coauthors= (help)
  29. ^ Curtis p. 144
  30. ^ Skal p. 184
  31. ^ Russo, Vito (1987). The Celluloid Closet: Homosexuality in the Movies (revised edition). New York: HarperCollins. p. 50. ISBN 0060961325. {{cite book}}: Cite has empty unknown parameter: |coauthors= (help)
  32. ^ Skal p. 185
  33. ^ Egremont, Michael, quoted in Skal p. 189
  34. ^ Gelder, Ken (2000). The Horror Reader. New York: Routledge. p. 132. ISBN 041521355X. {{cite book}}: Cite has empty unknown parameter: |coauthors= (help)

External links

Wikiquote has quotations related to Bride of Frankenstein.


Template:Universal Horror Template:American films

Retrieved from "https://en.wikipedia.org/w/index.php?title=Social_media&oldid=244393783"