Gale Researcher Guide for: Horror Codes: Frankenstein by Mary Shelley (1818) and James Whale (1931) is selected from Gale's academic platform Gale Researcher. These study guides provide peer-reviewed articles that allow students early success in finding scholarly materials and to gain the confidence and vocabulary needed to pursue deeper research.

Originally published in 1823, Valperga is probably Mary Shelley’s most neglected novel. Set in 14th-century Italy, it represents a merging of historical romance and the literature of sentiment. Incorporating intriguing feminist elements, this absorbing novel shows Shelley as a complex and intellectually astute thinker.

Looking at such films as "Frankenstein, Svengali, King Kong" and "The Mark of the Vampire," Berenstein argues that classical horror cinema is marked by malleable gender roles, not by entrenched conventional personas.

Frankenstein is a novel by Mary Shelley. It was first published in 1818. Ever since its publication, the story of Frankenstein has remained brightly in the imagination of the readers and literary circles across the countries. In the novel, an English explorer in the Arctic, who assists Victor Frankenstein on the final leg of his chase, tells the story. As a talented young medical student, Frankenstein strikes upon the secret of endowing life to the dead. He becomes obsessed with the idea that he might make a man. The Outcome is a miserable and an outcast who seeks murderous revenge for his condition. Frankenstein pursues him when the creature flees. It is at this juncture t that Frankenstein meets the explorer and recounts his story, dying soon after. Although it has been adapted into films numerous times, they failed to effectively convey the stark horror and philosophical vision of the novel. Shelley's novel is a combination of Gothic horror story and science fiction.

A lively, up-to-date overview of the newest research in biosocial criminology What is the relationship between criminality and biology? Nineteenth-century phrenologists insisted that criminality was innate, inherent in the offender’s brain matter. While they were eventually repudiated as pseudo-scientists, today the pendulum has swung back. Both criminologists and biologists have begun to speak of a tantalizing but disturbing possibility: that criminality may be inherited as a set of genetic deficits that place one at risk to commit theft, violence, or acts of sexual deviance. But what do these new theories really assert? Are they as dangerous as their forerunners, which the Nazis and other eugenicists used to sterilize, incarcerate, and even execute thousands of supposed “born” criminals? How can we prepare for a future in which leaders may propose crime-control programs based on biology? In this second edition of The Criminal Brain, Nicole Rafter, Chad Posick, and Michael Rocque describe early biological theories of crime and provide a lively, up-to-date overview of the newest research in biosocial criminology. New chapters introduce the theories of the latter part of the 20th century; apply and critically assess current biosocial and evolutionary theories, the developments in neuro-imaging, and recent progressions in fields such as epigenetics; and finally, provide a vision for the future of criminology and crime policy from a biosocial perspective. The book is a careful, critical examination of each research approach and conclusion. Both compiling and analyzing the body of scholarship devoted to understanding the criminal brain, this volume serves as a condensed, accessible, and contemporary exploration of biological theories of crime and their everyday relevance.

The History of Science Fiction traces the origin and development of science fiction from Ancient Greece up to the present day. The author is both an academic literary critic and acclaimed creative writer of the genre. Written in lively, accessible prose it is specifically designed to bridge the worlds of academic criticism and SF fandom.

The science fiction genre maintains a remarkable hold on the imagination and enthusiasm of the filmgoing public, captivating large audiences worldwide and garnering ever-larger profits. Science fiction films entertain the possibility of time travel and extraterrestrial visitation and imaginatively transport us to worlds transformed by modern science and technology. They also provide a medium through which questions about personal identity, moral agency, artificial consciousness, and other categories of experience can be addressed. In The Philosophy of Science Fiction Film, distinguished authors explore the storylines, conflicts, and themes of fifteen science fiction film classics, from Metropolis to The Matrix. Editor Steven M. Sanders and a group of outstanding scholars in philosophy, film studies, and other fields raise science fiction film criticism to a new level by penetrating the surface of the films to expose the underlying philosophical arguments, ethical perspectives, and metaphysical views. Sanders's introduction presents an overview and evaluation of each essay and poses questions for readers to consider as they think about the films under discussion.The first section, "Enigmas of Identity and Agency," deals with the nature of humanity as it is portrayed in Blade Runner, Dark City, Frankenstein, Invasion of the Body Snatchers, and Total Recall. In the second section, "Extraterrestrial Visitation, Time Travel, and Artificial Intelligence," contributors discuss 2001: A Space Odyssey, The Terminator, 12 Monkeys, and The Day the Earth Stood Still and analyze the challenges of artificial intelligence, the paradoxes of time travel, and the ethics of war. The final section, "Brave Newer World: Science Fiction Futurism," looks at visions of the future in Metropolis, The Matrix, Alphaville, and screen adaptations of George Orwell's 1984.