Beyond Adaptation In Mary Shelley's Frankenstein

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Mary Shelley’s Frankenstein, first published in 1818, has seen a staggering amount of adaptions to the silver screen. Yet as her “hideous progeny” (Shelley 197) Shelley would be amazed by the variety of interpretations imbedded in each of them. According to Pedro Javier Pardo García in “Beyond Adaptation: Frankenstein’s Postmodern Progeny” the amount of adaptations has led to the creation of a myth: “it is not just the literary source that has been ceaselessly reproduced […], most film versions do not take Mary Shelley’s text as a point of departure, but previous film versions” (224). García stresses the novel is hence beyond adaptation and that it has become merely one version of an overarching myth, and that each different adaptation adds to what lies at its heart: Frankenstein as a creation.…show more content…
According to Laplace-Sinatra in “Science, Gender and Otherness in Shelley’s Frankenstein and Kenneth Branagh’s Film Adaptation”, “[Shelley] cleverly makes speech a key feature of the story by depicting it as an exchange of speech on an oral level with the reported discussions that take place between [the various characters]” (255). Film versions of the novel have found various hardships in translating this on screen: with an emphasis on Shelley’s monster and Kenneth Branagh’s 1994 adaptation Mary Shelley’s Frankenstein, it becomes a question of how Frankenstein, in all his inner and outer monstrosity, is
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