English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Tools annual

Global: Zendy Free Plan

Global: Zendy Tools monthly

Global: Zendy Plus monthly

In this article, I discuss two recent films,  Frankenstein  (Kevin Connor 2004) and  Victor Frankenstein  (Paul McGuigan 2015), in terms of how they represent disability for mainstream television and cinema spectators. Using a critical framework that blends disability and adaptation studies, I analyse both films from a ‘crip’ perspective – that is, by interpreting how they propagate or resist the able-bodied assumptions upon which many Frankenstein narratives are based. As screen readaptations, I explore how Connor’s  Frankenstein  and  Victor Frankenstein  reflexively engage with this historical legacy, whilst providing textually ‘deformed’ versions of the story for contemporary audiences. More specifically, my analysis illustrates how the visual depiction of the Creature in Connor’s  Frankenstein  serves to maintain a non-disabled gaze. Although the film subverts the typical conflation of a character’s atypical body with a malevolent disposition, it does not, in fact, disrupt the longstanding ableist paradigm that views disability as monstrous. In contrast,  Victor Frankenstein , although witness to the visual erasure of Igor’s physical deformity from the cinema screen, nevertheless provides a critical exploration of the disabled individual’s social exclusion and oppression by foregrounding Igor’s subjective voice.

Mary Shelley’s ‘Hideous Progeny:’ Readaptation and (Textual) Deformity in Two Recent Frankenstein Films