Bride of Frankenstein
The inaugural volume in the film|minutes book series, this book offers a close, minute-by-minute analysis of director James Whale’s iconic 1935 masterpiece Bride of Frankenstein. Alternating between a variety of analytical lenses, including descriptive, historical, and philosophical, this study brea...
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| Format: | Online |
| Język: | angielski |
| Wydane: |
Lever Press
2025
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| Hasła przedmiotowe: | |
| Dostęp online: | ONIX_20250912T141556_9781643150857_11 |
| Etykiety: |
Nie ma etykietki, Dołącz pierwszą etykiete!
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| _version_ | 1869520770240086016 |
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| author | Denson, Shane |
| author_browse | Denson, Shane |
| author_facet | Denson, Shane |
| author_sort | Denson, Shane |
| collection | Directory of Open Access Books |
| description | The inaugural volume in the film|minutes book series, this book offers a close, minute-by-minute analysis of director James Whale’s iconic 1935 masterpiece Bride of Frankenstein. Alternating between a variety of analytical lenses, including descriptive, historical, and philosophical, this study breaks from conventional forms of film-analytical writing and offers an experiment in defamiliarization and looking anew. In the 1930s, the film opened a space for reflection on the rapid normalization of filmic sound, which it both relies on and estranges. In the 2020s, Bride of Frankenstein brings forth questions of new technological mediums such as artificial intelligence and the transformation of human agency. Shane Denson argues that such associations should not be written off as mere anachronism, but seen, rather, as a strategy of serialization; that is, it is by means of such anachronism that a film like Bride of Frankenstein remains open to new developments and novel situations, and thus comes alive for future viewers. Volumes in the film|minutes series cut up films into segments of exactly one minute and transform each minute into an innovative tool for thinking with the film. Each volume works rigorously with the concept of “the minute” as a non-cinematic scale/quantity, a means to zoom in on (dis)orderly fragments that do not necessarily respect the confinements of cinematic form or meaning. As a critical practice, the focus on minutes causes disruptions and displacement that create novel connections and perspectives, and uncovers hidden traces, making it possible to watch each film anew. |
| format | Online |
| id | doab-20.500.12854ir-166514 |
| institution | Directory of Open Access Books |
| language | eng |
| publishDate | 2025 |
| publishDateRange | 2025 |
| publishDateSort | 2025 |
| publisher | Lever Press |
| publisherStr | Lever Press |
| record_format | ojs |
| spelling | doab-20.500.12854ir-1665142025-09-13T05:07:28Z Bride of Frankenstein Denson, Shane Bride of Frankenstein, Frankenstein films, James Whale, seriality, serialization, philosophy of media, philosophy of technology, artificial creation, film history, media history, film studies, close visual analysis, visual studies, Frankenstein adaptations, self-reflexivity in film, media theory, film theory, human-technological relations, horror films, early sound cinema thema EDItEUR::A The Arts::AT Performing arts thema EDItEUR::A The Arts::AT Performing arts::ATF Films, cinema thema EDItEUR::A The Arts::AT Performing arts::ATF Films, cinema::ATFA Film history, theory or criticism The inaugural volume in the film|minutes book series, this book offers a close, minute-by-minute analysis of director James Whale’s iconic 1935 masterpiece Bride of Frankenstein. Alternating between a variety of analytical lenses, including descriptive, historical, and philosophical, this study breaks from conventional forms of film-analytical writing and offers an experiment in defamiliarization and looking anew. In the 1930s, the film opened a space for reflection on the rapid normalization of filmic sound, which it both relies on and estranges. In the 2020s, Bride of Frankenstein brings forth questions of new technological mediums such as artificial intelligence and the transformation of human agency. Shane Denson argues that such associations should not be written off as mere anachronism, but seen, rather, as a strategy of serialization; that is, it is by means of such anachronism that a film like Bride of Frankenstein remains open to new developments and novel situations, and thus comes alive for future viewers. Volumes in the film|minutes series cut up films into segments of exactly one minute and transform each minute into an innovative tool for thinking with the film. Each volume works rigorously with the concept of “the minute” as a non-cinematic scale/quantity, a means to zoom in on (dis)orderly fragments that do not necessarily respect the confinements of cinematic form or meaning. As a critical practice, the focus on minutes causes disruptions and displacement that create novel connections and perspectives, and uncovers hidden traces, making it possible to watch each film anew. 2025-09-13T05:07:27Z 2025-09-13T05:07:27Z 2025-09-12T12:23:20Z 2025 book ONIX_20250912T141556_9781643150857_11 https://library.oapen.org/handle/20.500.12657/105975 9781643150857 9781643150840 https://directory.doabooks.org/handle/20.500.12854/166514 eng film|minutes open access image/jpeg Attribution-NonCommercial-NoDerivatives 4.0 International https://library.oapen.org/bitstream/20.500.12657/105975/1/9781643150857.epub Lever Press 10.3998/mpub.13005363 10.3998/mpub.13005363 1f7afbda-6b1b-482d-b7ae-aa8e17267d01 9781643150857 9781643150840 235 open access |
| spellingShingle | Bride of Frankenstein, Frankenstein films, James Whale, seriality, serialization, philosophy of media, philosophy of technology, artificial creation, film history, media history, film studies, close visual analysis, visual studies, Frankenstein adaptations, self-reflexivity in film, media theory, film theory, human-technological relations, horror films, early sound cinema thema EDItEUR::A The Arts::AT Performing arts thema EDItEUR::A The Arts::AT Performing arts::ATF Films, cinema thema EDItEUR::A The Arts::AT Performing arts::ATF Films, cinema::ATFA Film history, theory or criticism Denson, Shane Bride of Frankenstein |
| title | Bride of Frankenstein |
| title_full | Bride of Frankenstein |
| title_fullStr | Bride of Frankenstein |
| title_full_unstemmed | Bride of Frankenstein |
| title_short | Bride of Frankenstein |
| title_sort | bride of frankenstein |
| topic | Bride of Frankenstein, Frankenstein films, James Whale, seriality, serialization, philosophy of media, philosophy of technology, artificial creation, film history, media history, film studies, close visual analysis, visual studies, Frankenstein adaptations, self-reflexivity in film, media theory, film theory, human-technological relations, horror films, early sound cinema thema EDItEUR::A The Arts::AT Performing arts thema EDItEUR::A The Arts::AT Performing arts::ATF Films, cinema thema EDItEUR::A The Arts::AT Performing arts::ATF Films, cinema::ATFA Film history, theory or criticism |
| topic_facet | Bride of Frankenstein, Frankenstein films, James Whale, seriality, serialization, philosophy of media, philosophy of technology, artificial creation, film history, media history, film studies, close visual analysis, visual studies, Frankenstein adaptations, self-reflexivity in film, media theory, film theory, human-technological relations, horror films, early sound cinema thema EDItEUR::A The Arts::AT Performing arts thema EDItEUR::A The Arts::AT Performing arts::ATF Films, cinema thema EDItEUR::A The Arts::AT Performing arts::ATF Films, cinema::ATFA Film history, theory or criticism |
| url | ONIX_20250912T141556_9781643150857_11 |
| work_keys_str_mv | AT densonshane brideoffrankenstein |