Frankenstein is arguably one of the most well-known horror stories known in contemporary society. Since its publication in 1818, various film and literary adaptations have been due to its popularity and critique of human morality in the face of technological innovation. Although promoted as one of the first science fiction novels, Frankenstein contained more elements of horror stemming from its gothic elements and romantic thought aside from its components of science fiction. By examining the mysterious and romantic elements of Mary Shelly’s Frankenstein, we see its influence on popular culture and the birth of the modern horror genre. The gloomy and overcast settings coupled with the use of eerie imagery both serve as fundamental foundations
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“We saw many ruined castles standing on the edges of precipices, surrounded by black woods, high and inaccessible.” (Shelly 133). The introduction of decrepit structures and the unknown adds a sense of apprehension that also intensifies fear among the audience. Filmmakers and animators often take advantage of these fears as seen in the work of Patrick McHale in the 2013 animated mini-series, Over the Garden Wall. The fear of the unknown strikes unease into the two protagonists who are warped into the “unknown.” Along the way, they encounter derelict structures that represent past decline. The same theme is seen when Victor visits the Orkney Islands to finish his task of creating a mate for the beast. “…their tumult is but as the play of a lively infant when compared to the roarings of the giant ocean.” (Shelly 142). Nature is often personified, “inanimate matter possesses a life and mentality of its own.” (Hall 2015). The personification of the gothic setting that surrounds the protagonists in gothicisism attributes to the mental degradation of the main character. The use of overcast weather and foreboding structures, due to Frankenstein, are now common themes within the modern horror
“We saw many ruined castles standing on the edges of precipices, surrounded by black woods, high and inaccessible.” (Shelly 133). The introduction of decrepit structures and the unknown adds a sense of apprehension that also intensifies fear among the audience. Filmmakers and animators often take advantage of these fears as seen in the work of Patrick McHale in the 2013 animated mini-series, Over the Garden Wall. The fear of the unknown strikes unease into the two protagonists who are warped into the “unknown.” Along the way, they encounter derelict structures that represent past decline. The same theme is seen when Victor visits the Orkney Islands to finish his task of creating a mate for the beast. “…their tumult is but as the play of a lively infant when compared to the roarings of the giant ocean.” (Shelly 142). Nature is often personified, “inanimate matter possesses a life and mentality of its own.” (Hall 2015). The personification of the gothic setting that surrounds the protagonists in gothicisism attributes to the mental degradation of the main character. The use of overcast weather and foreboding structures, due to Frankenstein, are now common themes within the modern horror