Mary Shelley’s “Frankenstein” is an early 19th century cautionary tale examining the dark, self-destructive side of human reality and human soul. It is written in the Romantic era where society greatly valued scientific and technological advancement. Throughout the novel, Shelley expresses her concerns of extreme danger when man transgresses science and all ethical values are disregarded. The implications of debatable experimentation and thriving ambition could evoke on humanity are explored in the
Frankenstein and Blade Runner The characterisation of characters in texts are a reflection of the composers societal values and zeitgest of their time. The comparison of Mary Shelley’s 1818 gothic novel Frankenstein and Ridley Scott’s 1992 science fiction film Blade Runner accentuate the mutable societal values and human identity. In Frankenstein, Mary Shelley challenges aspects of the Enlightenment era seeking knowledge, scientism and rationalism. Ridley Scott explores in Blade Runner the effects
interactions with other characters in this virtual world influence and are influenced by your character’s role. There are repercussions for negative behavior. Your game play—the narrative possibilities available to you, and the ones you actually take—changes and evolves depending on how your character acts, and other characters’ expectations about how s/he will act. In Morrowind, our character’s role in the game, and thus, the narrative paths that s/he can take, is shaped by us, his/her interactions
horror movies are induced by actual events occurring at some point in history. In the past we don’t directly see Count Dracula, Frankenstein and Jason Voorhees attacking society but, reading between the lines, the villains in horror movies are present in the antagonists in real life. Whether it’s the representation of the nuclear war in Night of the Living Dead or societal division in The Hills Have Eyes, there is some truth in the fears present in horror movies. Horror movies throughout history reflect
ReadMe! ASCII Culture and the Revenge of Knowledge, New York: Autonomedia, 1999. 2006, The Last Avant-garde: Interview with Mark Tribe & Reena Jana, nettime-l, Web, 30 Oct 2006, viewed 28 December 2010, . Shelley, Mary Wollstonecraft 1869, Frankenstein, or, The modern Prometheus, Boston: Sever, Francis, & Co., 1869. Tribe, Mark & Jana, Reena & Grosenick, Uta 2010, New Media Art, Taschen Basic Art Series, Köln: Taschen GmBH, 2010.
likewise referential or intertextual. Frankenstein draws on a rich lineage of Romantic favourites from Milton to Goethe through Godwin up to Percy Shelley. It is from these books the monster learns his culture thus his humanity. Melmoth has frequent allusions to contemporary romance e.g.: "Romances have made one familiar with tales of subterranean passages and supernatural horrors." (Maturin, 191).  The same thing occurs in Pier Paolo Pasolini's film version of 120 Days via the use of altered
which produce and distribute most of the films we watch. Starting in 1920, Adolph Zukor, head of Paramount Pictures, over the decade of the 1920s helped to fashion Hollywood into a vertically integrated system, a set of economic innovations which was firmly in place by 1930. For the next three decades, the movie industry in the United States and the rest of the world operated by according to these principles. Cultural, social and economic changes ensured the demise of this system after