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This article examines the way in which John Logan’s television series Penny Dreadful adapts Mary Shelley’s Romantic era text into a Neo-Victorian context, focusing on the “Bride” narrative of seasons two and three and how it reshapes the novel’s original anxieties. The series’ transposition reframes the novel’s anxieties about reproduction as specifically related to women’s agency. Drawing on the work of adaptation and performance theorists Kamala Elliott, Thomas Leitch, and Marvin Carson, this article examines the way in which the depiction of Victor’s attempts to subordinate Lily and her defiance can be situated in relation to the source material, most notably Shelley’s novel and James Whale’s two famous Universal films, as well as Victorian representations of patriarchal violence and restraint that are relevant to the series’ re-envisioned fin de siècle milieu. Lily functions as both the articulation of the bloodcurdling scream from Whale’s Bride of Frankenstein—which Mary Jacobus has productively read as an assertion of selfhood and rejection of patriarchal control—and an expression of the patriarchal nightmare embodied in the Victorian Gothic, the anxiety that women will indeed rise up and vanquish men.

The story of Frankenstein is controlled by the voices of three male narrators, whose actions also determine the tragic rates of female characters such as Justine Moritz (who is executed for a crime she did not commit) and Elizabeth Lavenza (who is murdered by the monster), as well as the female monster herself whose creation and terrible destruction are the by-product of negotiations between Victor and his male Creature. Drawing on Parisi, we might recognize and note the significance of the female monster's status as \"artificial flirt\"-her ability to be at once seductive, monstrous, and posthuman, and consequently to unsettle our assumptions about what it means to be beautiful, what it means to be embodied, what it means to be alive. [...]as this paper has argued, it is her status as boundary creature and her ability to shake up not only our conceptions of what constitutes \"human being\" but also our established notions of the division between nature and technology that give the female monster her enduring power and allow her to operate within current narratives of posthuman presence, digital fabrication, and techno-embodiment.

The critical tradition of viewing Welles as a visual artist attracted to sophisticated rather than simplistic visual tactics is very ingrained; one critic, Gardner Campbell, uses Welles's supposed distaste of \"the melodrama of the close-up\" and embracement of \"hyper-stylized mise-en-scene[s]\" to argue that some of the more visually complex shots in Robert Stevenson's Jane Eyre (1943) should be credited to the influence of Welles rather than Stevenson (5).\\n4.1 1-12, uses the art of the close-up to tell the story of the formation and eventual suppression of Macbeth's conscience. Besides the visual and narrative ties Welles's Macbeth shares with Whale's Bride of Frankenstein, there are many aural and visual references throughout Macbeth to the generic conventions of the early Hollywood horror- film genre: a soundtrack featuring the constant raging of storms and eerie, discordant music; the expressionistic shadows and bodies hanging from the gallows; the skulls on stakes; Lady Macbeth's graphic descent off the battlements into the craggy ravine.

Maio discusses films such as the new version of \"Godzilla\" and the wonderful \"Gods and Monsters\" directed by Bill Condon.

Bronski discusses the portrayal of director James Whale in Bill Condon's film \"Gods and Monsters.\" \"Gods and Monsters\" focuses on the last two weeks of Whale's life.

In an interview, actor Ian McKellen discusses playing director James Whale in the film \"Gods and Monsters.\" McKellen did no research for his portrayal of Whale.