Podcasts about frankenstein afterlives

With its extreme sex, violence, and gore, Paul Morrissey’s Flesh for Frankenstein has alternately excited, disgusted, and baffled audiences for decades. In this conversation, media Professor Bliss Cua Lim (UC Irvine) and film and media graduate student Rachael Ball (UC Santa Barbara) unpack and celebrate this exceptional movie. Lim and Ball describe the production, release, and response to Flesh for Frankenstein, noting its connections to Italy’s Cinecitta studios, Andy Warhol’s Factory, and the mainstream success of X-rated films in the mid-1970s. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 34362]

With its extreme sex, violence, and gore, Paul Morrissey’s Flesh for Frankenstein has alternately excited, disgusted, and baffled audiences for decades. In this conversation, media Professor Bliss Cua Lim (UC Irvine) and film and media graduate student Rachael Ball (UC Santa Barbara) unpack and celebrate this exceptional movie. Lim and Ball describe the production, release, and response to Flesh for Frankenstein, noting its connections to Italy’s Cinecitta studios, Andy Warhol’s Factory, and the mainstream success of X-rated films in the mid-1970s. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 34362]

With its extreme sex, violence, and gore, Paul Morrissey’s Flesh for Frankenstein has alternately excited, disgusted, and baffled audiences for decades. In this conversation, media Professor Bliss Cua Lim (UC Irvine) and film and media graduate student Rachael Ball (UC Santa Barbara) unpack and celebrate this exceptional movie. Lim and Ball describe the production, release, and response to Flesh for Frankenstein, noting its connections to Italy’s Cinecitta studios, Andy Warhol’s Factory, and the mainstream success of X-rated films in the mid-1970s. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 34362]

With its extreme sex, violence, and gore, Paul Morrissey’s Flesh for Frankenstein has alternately excited, disgusted, and baffled audiences for decades. In this conversation, media Professor Bliss Cua Lim (UC Irvine) and film and media graduate student Rachael Ball (UC Santa Barbara) unpack and celebrate this exceptional movie. Lim and Ball describe the production, release, and response to Flesh for Frankenstein, noting its connections to Italy’s Cinecitta studios, Andy Warhol’s Factory, and the mainstream success of X-rated films in the mid-1970s. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 34362]

Marsha Kinder, Professor of Cinematic Arts at USC, joins moderator Cristina Venegas, Professor of Film and Media Studies at UCSB, for a discussion of Víctor Erice’s 1973 directorial debut, The Spirit of the Beehive (El espíritu de la colmena). Their conversation addresses the significance of Spirit of the Beehive in terms of the history of Spanish cinema, and particularly its production at the end of the Franco Era in Spain and its setting at the end of the Spanish Civil War. Part of the Carsey-Wolf Center’s Frankenstein: Afterlives series, Kinder also addresses the significance of Mary Shelley's Frankenstein as an influence for the film, as well as Whale’s 1931 film Frankenstein, which appears and motivates characters in Erice’s Film. This discussion situates Spirit of the Beehive in the history of Spanish dictatorship and as an allegory for life under fascism. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 34296]

Marsha Kinder, Professor of Cinematic Arts at USC, joins moderator Cristina Venegas, Professor of Film and Media Studies at UCSB, for a discussion of Víctor Erice’s 1973 directorial debut, The Spirit of the Beehive (El espíritu de la colmena). Their conversation addresses the significance of Spirit of the Beehive in terms of the history of Spanish cinema, and particularly its production at the end of the Franco Era in Spain and its setting at the end of the Spanish Civil War. Part of the Carsey-Wolf Center’s Frankenstein: Afterlives series, Kinder also addresses the significance of Mary Shelley's Frankenstein as an influence for the film, as well as Whale’s 1931 film Frankenstein, which appears and motivates characters in Erice’s Film. This discussion situates Spirit of the Beehive in the history of Spanish dictatorship and as an allegory for life under fascism. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 34296]

Lester Friedman, Professor of Media and Society at Hobart and William Smith Colleges, joins moderator Patrice Petro in a Q&A discussion of Mel Brooks’ Young Frankenstein (1974). They cover the production, style, and influences at work in Brooks’ adaptation. Part of the Frankenstein: Afterlives series, this Q&A emphasizes the ways Brook’s film references James Whale’s Frankenstein (1931) and Mary Shelley's original novel. Young Frankenstein is faithful to the form and production technology of Whale’s version, while seeking to return more closely to the themes developed by Shelly’s original work. Friedman discusses the way Brooks’ adaptation, through comedy, returns to questions of science, ethics, and sexuality in ways that reference Shelly but update them for 1970s audiences—speaking to the politics of marginality and social change. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 34295]

Marsha Kinder, Professor of Cinematic Arts at USC, joins moderator Cristina Venegas, Professor of Film and Media Studies at UCSB, for a discussion of Víctor Erice’s 1973 directorial debut, The Spirit of the Beehive (El espíritu de la colmena). Their conversation addresses the significance of Spirit of the Beehive in terms of the history of Spanish cinema, and particularly its production at the end of the Franco Era in Spain and its setting at the end of the Spanish Civil War. Part of the Carsey-Wolf Center’s Frankenstein: Afterlives series, Kinder also addresses the significance of Mary Shelley's Frankenstein as an influence for the film, as well as Whale’s 1931 film Frankenstein, which appears and motivates characters in Erice’s Film. This discussion situates Spirit of the Beehive in the history of Spanish dictatorship and as an allegory for life under fascism. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 34296]

Lester Friedman, Professor of Media and Society at Hobart and William Smith Colleges, joins moderator Patrice Petro in a Q&A discussion of Mel Brooks’ Young Frankenstein (1974). They cover the production, style, and influences at work in Brooks’ adaptation. Part of the Frankenstein: Afterlives series, this Q&A emphasizes the ways Brook’s film references James Whale’s Frankenstein (1931) and Mary Shelley's original novel. Young Frankenstein is faithful to the form and production technology of Whale’s version, while seeking to return more closely to the themes developed by Shelly’s original work. Friedman discusses the way Brooks’ adaptation, through comedy, returns to questions of science, ethics, and sexuality in ways that reference Shelly but update them for 1970s audiences—speaking to the politics of marginality and social change. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 34295]

Marsha Kinder, Professor of Cinematic Arts at USC, joins moderator Cristina Venegas, Professor of Film and Media Studies at UCSB, for a discussion of Víctor Erice’s 1973 directorial debut, The Spirit of the Beehive (El espíritu de la colmena). Their conversation addresses the significance of Spirit of the Beehive in terms of the history of Spanish cinema, and particularly its production at the end of the Franco Era in Spain and its setting at the end of the Spanish Civil War. Part of the Carsey-Wolf Center’s Frankenstein: Afterlives series, Kinder also addresses the significance of Mary Shelley's Frankenstein as an influence for the film, as well as Whale’s 1931 film Frankenstein, which appears and motivates characters in Erice’s Film. This discussion situates Spirit of the Beehive in the history of Spanish dictatorship and as an allegory for life under fascism. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 34296]

Science and humanities professor Colin Milburn (UC Davis) and graduate student Wesley Jacks (UC Santa Barbara) explore the legacy of James Whale’s iconic Bride of Frankenstein (1935). Their talk touches on key similarities and differences between Bride, Whale’s earlier Frankenstein (1931) film, and the original Mary Shelley novel. In addition to exploring the narrative and formal components of each, Milburn and Jacks draw out the ethical conflicts that span and separate each text. Their discussion touches on the legacy of the film within the sci-fi genre, its still-compelling queer components, and the film’s position within the sub-genre of gothic horror. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 34292]

In the opening conversation within the Carsey-Wolf Center’s Frankenstein: Afterlives film series, CWC director Patrice Petro and English professor Julie Carlson (UC Santa Barbara) discuss the life of Mary Shelley and the representation of her views and career in director Haifaa Al-Mansour’s new biopic, Mary Shelley. During the discussion, professors Petro and Carlson cover the film’s feminist elements and the historical connections Mary Shelley had with literature, science, and philosophy. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 34291]

Science and humanities professor Colin Milburn (UC Davis) and graduate student Wesley Jacks (UC Santa Barbara) explore the legacy of James Whale’s iconic Bride of Frankenstein (1935). Their talk touches on key similarities and differences between Bride, Whale’s earlier Frankenstein (1931) film, and the original Mary Shelley novel. In addition to exploring the narrative and formal components of each, Milburn and Jacks draw out the ethical conflicts that span and separate each text. Their discussion touches on the legacy of the film within the sci-fi genre, its still-compelling queer components, and the film’s position within the sub-genre of gothic horror. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 34292]

In the opening conversation within the Carsey-Wolf Center’s Frankenstein: Afterlives film series, CWC director Patrice Petro and English professor Julie Carlson (UC Santa Barbara) discuss the life of Mary Shelley and the representation of her views and career in director Haifaa Al-Mansour’s new biopic, Mary Shelley. During the discussion, professors Petro and Carlson cover the film’s feminist elements and the historical connections Mary Shelley had with literature, science, and philosophy. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 34291]

In the opening conversation within the Carsey-Wolf Center’s Frankenstein: Afterlives film series, CWC director Patrice Petro and English professor Julie Carlson (UC Santa Barbara) discuss the life of Mary Shelley and the representation of her views and career in director Haifaa Al-Mansour’s new biopic, Mary Shelley. During the discussion, professors Petro and Carlson cover the film’s feminist elements and the historical connections Mary Shelley had with literature, science, and philosophy. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 34291]

Science and humanities professor Colin Milburn (UC Davis) and graduate student Wesley Jacks (UC Santa Barbara) explore the legacy of James Whale’s iconic Bride of Frankenstein (1935). Their talk touches on key similarities and differences between Bride, Whale’s earlier Frankenstein (1931) film, and the original Mary Shelley novel. In addition to exploring the narrative and formal components of each, Milburn and Jacks draw out the ethical conflicts that span and separate each text. Their discussion touches on the legacy of the film within the sci-fi genre, its still-compelling queer components, and the film’s position within the sub-genre of gothic horror. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 34292]

In the opening conversation within the Carsey-Wolf Center’s Frankenstein: Afterlives film series, CWC director Patrice Petro and English professor Julie Carlson (UC Santa Barbara) discuss the life of Mary Shelley and the representation of her views and career in director Haifaa Al-Mansour’s new biopic, Mary Shelley. During the discussion, professors Petro and Carlson cover the film’s feminist elements and the historical connections Mary Shelley had with literature, science, and philosophy. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 34291]

Science and humanities professor Colin Milburn (UC Davis) and graduate student Wesley Jacks (UC Santa Barbara) explore the legacy of James Whale’s iconic Bride of Frankenstein (1935). Their talk touches on key similarities and differences between Bride, Whale’s earlier Frankenstein (1931) film, and the original Mary Shelley novel. In addition to exploring the narrative and formal components of each, Milburn and Jacks draw out the ethical conflicts that span and separate each text. Their discussion touches on the legacy of the film within the sci-fi genre, its still-compelling queer components, and the film’s position within the sub-genre of gothic horror. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 34292]