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    Old and Young Frankenstein

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    Old and Young Frankenstein Something that interested me greatly about Mary Shelley's Frankenstein was the treatment that the creature received from Frankenstein and the other people around him. I often wonder how things would have turned out had he been treated with a little bit of humanism and compassion, especially by his creator. What if Frankenstein had taken the responsibility as the creature's parent and created him with a little humanism and kindness? Would the creature have

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    Young Frankenstein (1974) was the fourth motion picture directed by Mel Brooks. According to Goodykoontz and Jacobs (2011) “the narrative structure is the basic building block of any story” (p. 2.3). The structure is built on the story of how the grandson of Baron Von Frankenstein goes back to his grandfather’s castle and takes over his life’s work on re-animation. Gene Wilder is the creator of the screenplay, and Mel Brooks was invited to help co-write the story. Wilder got the idea one day while

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    Short Essay – Young Frankenstein Anyone who has had the chance to read Mary Shelly’s original Frankenstein and watch the movie Young Frankenstein is aware that there is quite a difference when it comes to the two of them. For one it is easy to point out that Young Frankenstein is set out to be a comedy while the original version of Frankenstein is made to be serious. Young Frankenstein is a 1977 film that tells the story of Victor Frankenstein’s grandson. The film adaptation is essentially a parody

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    Frankenstein is a novel written by Mary Shelley. The Sorrows of Young Werther by Johann Wolfgang von Goethe is one of the literary texts interwoven in Mary Shelley’s novel Frankenstein. It talks of a story about a girl Lotte and a boy named Werther. The two fell in love although the girl was already engaged to an older man Abert. When Lotte marries the older man, Werther commits suicide because of rejection. The creature in Frankenstein finds this book and teaches himself to read from it. Shelley

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    Abstract: Young Frankenstein, by Mel Brooks, served to offset the anxiety and fear created by previous horror and monster movies. Written and produced in 1974, only one year after one of the most frightening movies of all time, The Exorcist, Mel Brooks created a horror/ monster movie that would relieve psychological tensions rather than create them as the Exorcist had the pervious year, this movie looked at monster movies through parodical glasses. To do this, Brooks used elements described by

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    Rhetorical Analysis Mel Brook's film ,Young Frankenstein, is a comedic throwback and famous parody to Univeral's Frankenstein (1931), Bride of Frankenstein (1935), Son of Frankenstein (1939), and The Ghost of Frankenstein (1942). (quote from interview generally describing movie experience). Young Frankenstein has important visual effects that bring to this film a well-rounded sense of both frivolity and campy thrill. Satirically embodying the older films, Young Frankenstein includes overly dramatic scene

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    The films Young Frankenstein and One Flew over the Cuckoo’s Nest can be viewed as a critical analysis of society’s issues and dysfunctions in the form of satire and parody using humor. While Young Frankenstein, Mel Brooks cinematic version of the gothic novel, Mary Shelley’s Frankenstein, uses parody in the form of Horatian satire, which is achieved through gentle ridicule and using a tone that is indulgent, tolerant, amused and witty. The film One Flew over the Cuckoo’s Nest, the adaptation of

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    The interpretation of the young girl’s ghastly nightmare, fashioned by her own imagination derived the novel “Frankenstein: The Modern Prometheus.” Mary Shelley began, putting pen to paper reveling her cautionary tale, a moral lesson hidden within a horrifying story that would awaken thrill and terror in her audience. Mary felt that if this was not accomplished, the novel would not live up to its title “The Modern Prometheus.” She relates to geographic elements that are subsequent the French Revolutionary

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    Frankenstein, although well-educated himself, is a very closed-minded individual. He soaks in the information that he first learns from a young age and refuses to examine the perspectives of other scientists or educators. A later omitted text from Mary Shelley’s original draft of Frankenstein states that (when Frankenstein visited Oxford) “We found that the regulations of this university were much improved since the days of Gibbon, but there is still in fashion a great deal of bigotry and devotion

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    on the main character of Mary Shelley’s Frankenstein, the Monster, and how his crime of killing a young boy and framing an innocent bystander is explained through the arguments made by Mengzi concerning evil natures. This parallel will be made by showing the progression of the Monster from good to evil nature and how his motivation to ruin his creator’s life tainted his fundamental heart. I will first briefly address the action as portrayed in Frankenstein and then discuss how Mengzi’s ideas explain

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