![]() The 1931 Universal film treated the creature's identity in a similar way as Shelley's novel: in the opening credits, the character is referred to merely as "The Monster" (the actor's name is replaced by a question mark, but Karloff is listed in the closing credits). However, the creature has no name in the Universal film series starring Boris Karloff during the 1930s, which was largely based upon Webling's play. The story was adapted for the stage in 1927 by Peggy Webling, and Webling's Victor Frankenstein does give the creature his name. Within a decade of publication, the name of the creator-Frankenstein-was used to refer to the creature, but it did not become firmly established until much later. "This nameless mode of naming the unnameable is rather good." Cooke," she wrote to her friend Leigh Hunt. ![]() "The play bill amused me extremely, for in the list of dramatis personae came _, by Mr T. In 1823, Shelley herself attended a performance of Richard Brinsley Peake's Presumption, the first successful stage adaptation of her novel. Frankenstein's creation referred to himself as a "monster" at least once, as did the residents of a hamlet who saw the creature towards the end of the novel.Īs in Shelley's story, the creature's namelessness became a central part of the stage adaptations in London and Paris during the decades after the novel's first appearance. Frankenstein refers to his creation as "creature", "fiend", "spectre", "the dæmon", "wretch", " devil", "thing", "being", and " ogre". Mary Shelley's original novel never gives the monster a name, although when speaking to his creator, Victor Frankenstein, the monster does say "I ought to be thy Adam" (in reference to the first man created in the Bible). Cooke as the monster in an 1823 stage production of Shelley's novel The most popularly recognized versions are the film portrayals by Boris Karloff in the 1931 film Frankenstein, the 1935 sequel Bride of Frankenstein, and the 1939 sequel Son of Frankenstein. įrankenstein's monster became iconic in popular culture, and has been featured in various forms of media, including films, television series, merchandise and video games. According to the scholar Joseph Carroll, the monster occupies "a border territory between the characteristics that typically define protagonists and antagonists". The monster attempts to fit into human society but is shunned, which leads him to seek revenge against Frankenstein. Shelley describes the monster as 8 feet (240 cm) tall and emotional. In Shelley's Gothic story, Victor Frankenstein builds the creature in his laboratory through an ambiguous method based on a scientific principle he discovered. Shelley's title thus compares the monster's creator, Victor Frankenstein, to the mythological character Prometheus, who fashioned humans out of clay and gave them fire. "Frankenstein", "The Monster", "The Creature", "The Wretch", "Adam Frankenstein" and othersīride of Frankenstein (companion/predecessor in different adaptions)įrankenstein's monster or Frankenstein's creature, often referred to as simply " Frankenstein", is an English fictional character who first appeared in Mary Shelley's 1818 novel Frankenstein or, The Modern Prometheus. The painting is supposed to make the viewer search themself for what lies within.Steel engraving (993 × 78 mm), for the frontispiece of the 1831 revised edition of Mary Shelley's Frankenstein, published by Colburn and Bentley, London Influenced by the song 'Monster' by 'Imagine Dragons'.Ĭolours were added during the painting process and through spontaneity based on my feeling towards each specific part of the background and face. 'Monster' depicts that inner monster that we all have and see from time to time. An image of a face or mask representing the inner self that we all posses. 'Monster' is an oil painting, painted through my own psych, spontaneity and emotional. Shifting from dark and light colours and a standalone orange/red with shades of black. The background represents all the emotions of the face and how 'up and down' they are. The lips are red and thin showing a lose for words or a feeling to not speak anymore, hence the purple above the lips which shows it has been tamed or tainted. The nose is the same colour as the face's left eye's surroundings which displays what is always on show to see rather that the right eye's surrounding colour which is blue and shows sadness, an inner emotional and part. The nose is disjointed and disfigured, however keeps a form similar to that of a human nose as it is where a nose should be. The face's left side is a more confident and observant whereas the face's right side seems sad and its eye smaller than its counterpart. The face is meant to be split into parts and each colour presents a different quality of the face. Each mixed together during the painting process. Monster features a variety of colours: black white grey blue red purple pink and flesh.
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