This collection of films is the result of a creative collaboration between the National Theatre and the Royal College of Art. Students on the MA Visual Communications course at the Royal College of Art were given a variety of stimuli by the National Theatre, including attending a performance of Danny Boyle's Frankenstein, and challenged to respond by creating their own piece of film.
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The film gives tactility to the point of view of the monster. It sees the world for the first time. He wants a She. She wants a He. A film by Maya Stocks.
The internet and the IT matrix make one dimension of communication effortless, but the issues of personal privacy and the stalker… master/slave relationships. What's behind you? What's in front? A film by Lucy Hye Won Lee.
It would be traumatic to come home from the supermarket, and find your fresh fruit has burst into life. The science fiction of crazy thoughts. A film by Samara Scott.
The other side of this life – what is it? A gentle guide, a glide, to cut out and keep. A film by Somang Lee.
The monster as a distortion seen through glass, where new shapes struggle for definition. The future comes from forging a less obvious binary relation between the familiar and the frightening. A film by Akhila Krishnan.
The film presents a sequence of simple distortions that bend Eden to Yorick and back to Black Sabbath. The experiment lingers. A film by Youness Benali.
The bride stripped bare. She shaves her legs before dancing off into the moonlight, with a childhood memory and a backwards glance… To the safety of the bedroom. A film by Sophie Taylor.
The landscape, seen through the eyes of the monster. A film by Laura Scott.
Childbirth is scary. Mary Shelley's experience and the legacy of her mother, Mary Woolstencraft, casts a shadow over the “Frankenstein” story. A film by Ronit Mirsky.
The butcher's block as comic relief. A film by Leena Kangaskoski & Ana Minguez.
An interactive face model that responds positively to nice words, and negatively to anything negative. If he doesn't like what you say, you know it immediately. A film by Sin Yee Hau.
The nuclear family and nuclear energy. Place these two elements together, creating a contemporary twist to the Frankenstein story. A film by Amy Dickson.
Constructed from 1930s archive footage from the Soviet Union. This is Frankenstein for real and a curse on the perpetrators past and present. A film by Thomas Völker.
One the one hand, surgeons and medical science, on the other, digital programmers, 3D technicians and games developers. A film by Damien Monteau & Pedro Pina.
The gruesome evidence ends up in a museum. The most graphic exhibits are steadily withdrawn, until there is nothing but the Wunderkammer. A blur of detail, a blur of everything. A film by Catherine Roissetter.
Venus de Milo is an ideal, but it forges a renaissance; the 16mm film format is an ideal, it forges a continuation of film language and movement. the digital distortion came by accident, on transferring the film to the computer. A film by Karolina Raczynska.
Since the Industrial Revolution, societies have caged nature in. One observes it in the most mundane of locations. The trees here are making the cardinal error of interfering with pavements and parking spaces. A film by Patrick Malloy.
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