⚡ Modernity In Frankenstein

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Modernity In Frankenstein



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Afterward, Mulder tells Scully that he believes that Dr. Later, Dr. Pollidori's wife Elizabeth Miriam Smith is knocked unconscious and attacked in the same manner as Shaineh. At the crime scene, Mulder and Scully find a chemical residue from an agricultural agent used to anesthetize animals, which leads them to suspect Dr. Pollidori's father, who is a farmer.

Pollidori comes to his father's house, angrily confronts him, and murders him. Later, Mutato, who lives with Pollidori Sr. Mulder and Scully go looking for Pollidori Sr. Meanwhile, Dr. Pollidori leads an angry mob of townspeople to his father's house, demanding that Mulder and Scully turn the alleged murderer over to them. The agents find Mutato hiding in the basement as the crowd gathers upstairs. Someone accidentally sets the barn alight, and in the ensuing confusion, the mob realize that the agents are protecting the monster in the basement. Mutato speaks to the crowd and explains that he was created 25 years before, and that he is the result of a genetic experiment by Dr.

Unbeknownst to his son, Pollidori Sr. The old man attempted to emulate his scientist son's experiments, and tried to create hybrids from his farm animals. Mutato asks Dr. Pollidori to create a female companion for him, but the scientist says that he cannot—that Mutato was a mistake. The townspeople realize that The Great Mutato is not a monster after all, and Dr. Pollidori is arrested for the murder of his father. Mulder feels that it is unjust for Mutato not to get a mate, and so he demands to see "the writer".

In a fanciful, [4] if not imagined, [5] scene, Mulder and Scully take matters into their own hands and take Mutato, along with the townspeople, to a Cher concert. The episode ends with a shot of Mulder and Scully dancing, which slowly turns back into the comic book seen at the beginning of the episode. Going into the fifth season of The X-Files , series creator Chris Carter noted, "we knew we were going to be hitting these very dramatic marks which were the mythology episodes, and we wanted to lighten, or leaven, the season with quirky episodes. To achieve his vision, he wrote a script that blurred the real world with the X-Files reality and that had a distinct fantasy element.

In order to make the episode "as moving" as possible, Carter sought to echo elements of James Whale 's film version of Frankenstein. The genetic engineering aspect of the story was developed with assistance from the series' science adviser, Anne Simon. Carter visited a friend of Simon, a scientist at Indiana University in Bloomington , who had been able to genetically manipulate flies so that they grew legs from their eyes.

Carter contacted Groening, who gave Carter permission to use the name. Cher 's music plays a large role in "The Post-Modern Prometheus", Chris Carter having written the episode after spending a summer listening to Cher records and developing a fixation on the singer. Carter knew that Cher's half-sister Georganne LaPiere was a major X-Files fan, and Carter learned through LaPiere that Cher herself was intrigued by the show and would be interested in making an X-Files guest appearance. Barr, however, was unavailable at the time of shooting—her projected role was filled by Pattie Tierce— [8] while Cher passed on the proffered cameo appearance performing as herself, a decision for which she later expressed regret: "I wanted them to ask me to come on and act—then they just wanted me to come on and sing Just to come on and be myself wasn't anything I'd want to do until I saw [the finished episode]" — "Had I [foreseen] the quality of [it] I would have done it in a heartbeat.

Although Bell was credited for the role, Cher's fans responded to the episode's premiere with online speculation as to whether the singer had pseudonymously appeared in the episode. These casting choices went against a long-standing tradition on The X-Files of only casting actors who were not well-known. Seinfeld regular John O'Hurley had auditioned for several roles on the show but Carter had not previously thought of him as "an X-Files actor". For the part of Dr. Pollidori, however, Carter considered him "the absolute perfect casting choice". Chris Owens played the Great Mutato, and to many, he was unrecognizable in heavy makeup.

Owens had played a younger version of The Smoking Man in two episodes of season four and was later cast as the recurring character of FBI special agent Jeffrey Spender. What I'm looking for is dignity. He's got dignity. But he's definitely mutated'". The director of photography, Joel Ransom, had to spend longer than usual lighting the set because of the use of grayscale. The stormy skies in the episode, added to emulate the atmosphere of old Frankenstein movies, were a visual effect. Carter also used a wide-angle camera lens throughout the episode, which forced the actors to act directly to the camera, rather than to each other.

According to Carter, it also enabled him to give scenes in the episode a more surreal staging than was usual for the show. The makeup for the character of The Great Mutato was designed and created by special effects supervisor Tony Lindala. The Mutato mask went through several design iterations on paper, including 10—15 drawings and a color rendition. In addition to the mask, Chris Owens wore contact lenses and dentures.

And now I was going to sit in the dark, and I could only see out of one eye. They put a big contact lens in. Lindala also created "Baby Mutato" costumes for the twin infants featured in The Jerry Springer Show scene, but the production crew had difficulty keeping the costumes on the children. Lindala later said, "[t]he little babies kept tearing their hair off, we kept gluing it back on". The episode was scored by series composer Mark Snow , and was, according to him, his best episode score of the fifth season. He described the main theme as "a very dark, macabre, insidious sort of nasty waltz".

The latter is played at the end of the episode when the agents take The Great Mutato to a Cher concert. The episode contains several cultural references. First, the episode's title is a reference to both the subtitle for Shelley's original novel, The Modern Prometheus , and to the postmodernist school of thought. Nor does its early 19th-century technology.

Mary imagined first a combination of maths and alchemy — and then electricity in her revised edition — animating her patchwork corpse. But in the novel, myth powers technology and not the other way around. Frankenstein shows us that aspiration and progress are indistinguishable from hubris — until something goes wrong, when suddenly we see all too clearly what was reasonable endeavour and what overreaching. By the time she wrote her classic, Mary was aware that the man she had married was an emotional and philosophical overreacher.

For all his family wealth, Percy was often in debt. Moreover, for a soi-disant writer, remarkably little of his work had been published; Mary spent a lot of time fair copying it to send to publishers. But Frankenstein is no memoir. Frankenstein identifies the mismatch between human experience and what we are expected to become as technology and science advance.

As well as being emotionally expressive, Frankenstein was informed by contemporary intellectual debate. Amateur speculation could be cutting-edge. Those who were professional gave fashionable public lectures, which encouraged more amateur participation. Think of the widespread reception of that towering 20th-century writer Sylvia Plath — no less a transformative poet than her husband Ted Hughes — as simply expressing her feelings. Indeed, think today of the US poet Sharon Olds, forced for years to equivocate over whether material in her Pulitzer prize-winning work is autobiographical lest she be similarly dismissed. The question is not how did Mary write Frankenstein , but why is it so hard to believe that she did?

After all, she herself left a portrait of the kind of thinking she enjoyed: the leaping, near-intuitive intellect she gives her Dr Frankenstein. Everything we know about her writing process — and we know a lot, thanks to her journal and letters — tells us it was consciously literary, painstakingly crafted. Even its famous trigger was literary. After they had spent an evening in June reading ghost stories together, Lord Byron set a group of his guests at Villa Diodati, on the banks of Lake Geneva, a writing competition.

Mary completed much of Frankenstein while living in Bath, at a time when Percy was often absent. She had already followed Percy into political exile in Europe, and within a year she would suffer the deaths of both her children. American Film Institute. Archived from the original on February 26, Retrieved February 24, Library of Congress. December 30, Archived from the original on August 10, Greeley Daily Tribune. Greeley, Colorado. October 31, Retrieved February 25, — via Newspapers. ASIN DVD Talk. Retrieved January 16, Archived from the original on September 26, Film Daily.

Library of congress. Retrieved November 16, Retrieved July 6, Beck, J. Spencer, ed. The Variety Book of Movie Lists. ISBN Benson, Michael Vintage Science Fiction Films, November 21, Variety, Inc. Retrieved February 25, Da Capo Press. D'Alessandro, Anthony May 10, Archived from the original on May 8, Fleming, Mike, Jr. February 9, Archived from the original on February 11, Fulton, John P. September American Cinematographer. Hall, Mordaunt November 18, The New York Times. Archived from the original on December 2, Retrieved September 21, Hanke, Ken []. Hardy, Phil , ed.

Science Fiction. Hipes, Patrick August 22, Deadline Hollywood. Archived from the original on August 22, Retrieved August 22, Kit, Borys; Couch, Aaron November 8, The Hollywood Reporter. Archived from the original on November 8, Retrieved November 8, Kit, Borys February 9, Kroll, Justin January 24, Archived from the original on November 25, Retrieved February 4, Mank, Gregory W. The Hollywood Hissables. Scarecrow Press. Mank, Gregory Wm. Riley, Philip J. The Invisible Man Kindle ed. BearManor Media. Marriott, James ; Newman, Kim [1st pub. The Definitive Guide to Horror Movies. London: Carlton Books. Moran, Robert January 31, The Sydney Morning Herald.

Archived from the original on February 6, Mosher, John May 23, The New Yorker. Mosher, John August 28, Newman, Kim. Archived from the original on February 25, Nourmand, Tony; Marsh, Graham, eds.

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