Gracie Bain - Academia.edu (original) (raw)
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Università Cattolica del Sacro Cuore (Catholic University of the Sacred Heart)
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![Research paper thumbnail of “Frankenbitch[es]”: Adapting Frankenstein’s Female Monster in Literature and Film](https://a.academia-assets.com/images/blank-paper.jpg)
](Literature Film Quarterly, 2022
From her first appearance on screen, The Bride of Frankenstein has been a queer figure. Most of u... more From her first appearance on screen, The Bride of Frankenstein has been a queer figure. Most of us recognize the white bridal dress and the signature hairstyle of James Whale’s Bride of Frankenstein regardless of our engagement with Mary Shelley’s text. The Bride is the woman, the monster, and the victim are collapsed into one body. Because these boundaries are porous, there is fission which produces possibilities. Combining queer theory and adaptation not only intervenes in the language of adaption, but also expands the meaning of possibility. In particular, I explore the ways texts starring The Bride have engaged with questions associated with queer, feminist, and adaptation theory. I examine Pandora’s Bride as a text that allows for The Bride’s possibility to exist for itself and Frankenhooker and Patchwork as texts that let her practice her messy possibilities. The Bride’s corruption allows for disruption and alteration—either the possibility of choosing no mate or the possibility of alternative communities.
Literature Film Quarterly, 2022
From her first appearance on screen, The Bride of Frankenstein has been a queer figure. Most of u... more From her first appearance on screen, The Bride of Frankenstein has been a queer figure. Most of us recognize the white bridal dress and the signature hairstyle of James Whale’s Bride of Frankenstein regardless of our engagement with Mary Shelley’s text. The Bride is the woman, the monster, and the victim are collapsed into one body. Because these boundaries are porous, there is fission which produces possibilities. Combining queer theory and adaptation not only intervenes in the language of adaption, but also expands the meaning of possibility. In particular, I explore the ways texts starring The Bride have engaged with questions associated with queer, feminist, and adaptation theory. I examine Pandora’s Bride as a text that allows for The Bride’s possibility to exist for itself and Frankenhooker and Patchwork as texts that let her practice her messy possibilities. The Bride’s corruption allows for disruption and alteration—either the possibility of choosing no mate or the possibility of alternative communities.