The birth of Frankenstein's monster cinematic analysis from La Sorbonne Graduate Vincent ROSSO.

1. “THE BIRTH OF A
MONSTER”
Film into Fiction – Oral presentation
Vincent Rosso, Sorbonne Paris IV
Sequence understudy: Branagah’s film adaptation
01:08’34” – 01:12’30”

2. The extract understudy

3. Outline
I/ Filming in the creature’s skin: from humanization to sympathy.
1/ Respecting Mary Shelley’s tradition focalizing in the creature’s mind.
2/ Sun-pathos in motion
II/ From humanization to dehumanization: showcasing a dramatic shift
of personality.
1/ A gradual dramatic transitioning, from the state of innocence…
2/ …To a climactic revenge instinct (lex Talionis).
III/ The birth of a monster, who is to be considered as a real monster?
1/ Another exclusion (William vs. The monster)
2/ Ethical considerations regarding Victor’s hubris

4. Line of attack
To what extent does Branagah’s adaptation suggest a
broader interpretation regarding the very concept of
monstrosity? And how does he challenge it?

5. I/ Filming in the creature’s skin: from
humanization to sympathy.
1/ Respecting Mary Shelley’s tradition focalizing in the
creature’s mind.
2/ Sun-pathos in motion

6. Density of the landscape to lay the stress
on the creature’s isolation and despair
Long shot

7. State of innocence and its dramatic staging

8. Sympathy in motion
We share a common pain

9. Eye line match and subjective camera

10. ”malfunctioned”
“experiments”

11. Range of scales

12. Reaction shot

13. A methodical scale of shots
(recurrent)
Full shot

14. II/ From humanization to dehumanization:
showcasing a dramatic shift of personality.
1/ A gradual dramatic transitioning, from the state
of innocence…
2/ …To a climactic revenge instinct (lex Talionis)

15. Transition shot (fade): play on
temperatures warm and colds hues

16. Romantic hero and the Sublime
landscape / paysage d’état d’âme
High angle shot

17. Family reunion in the Mansion,
Geneva
Establishing shot
« an establishing
shot defines the
whole setting : an
area location, a
whole room, and
a place with all its
characters »

18. Visual External allusion to Charles
Perrault, The little Red riding Hood.

19. Close up shot, foreshadowing hectic
revenge

20. III/ The birth of a monster: who is to be
considered as a real monster?
1/ Another exclusion (William vs. The monster)
2/ Ethical considerations regarding Victor’s
hubris

21. William’s reaction is a rejection.
Close shot of
William’s
facial
reaction

22. A non-verbal exchange and prevalence of
the facial expression
ATwo-shot
including two
characters

23. Strong images and color association
replace the verbal communication
Medium close-
up shot
focusing on
William’s
necklace

24. Conclusion
This sequence of Branagah’s film adaptation sheds light on the dual nature of the
creature. He gives a broader interpretation of the very concept of monstrosity. The
creature is depicted with all its complexity through the prism of many cinematic
devices. Branagah allows the viewer to explore the monster’s interiority. This proximity
with the creature triggers sympathy — as it etymologically refers to the very notion of
sharing a common pain. All this helps understanding the monster’s grief and sense of
abandonment. This sequence is also characterized by the very notion of transitioning
from one state to another for example, from the state of innocence to the state of
retaliation. Through an utter color-coded impression which provides a general
coherence, Branagah also subtly broadens interpretations making the viewers aware
of Victor’s responsibility. The true monster might not be the one who is meeting
William in the woods, but the one whose picture is to be found on the ground.

25. An utter color-coded impression,
providing a general coherence