Sight &amp; Sound Conspire: Monstrous Audio-Vision in James Whale's Frankenstein (1931)

Denson, Shane

doi:10.20415/hyp/019.s0108

Cited by 1 publication

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“…These uncanny creatures, only half-alive or half-human, further denaturalized sound to spectacular effect. In James Whale's Frankenstein (1931), Boris Karloff's mute monster contrasts sharply with the depiction in Mary Shelley's novel, originally published in 1818 and since proliferating in countless theatrical and literary adaptations, of a loquaciously poetic creature; but even more than problematizing the relation of film to novel as a 'faithful' or 'unfaithful' adaptation, the monster's muteness raises questions about the medium of film itself (Spadoni 2007;Denson 2014Denson , 2016. 9 Deprived of speech, the monster on screen is reminiscent of a silent-film actor, who for technical reasons must communicate through gesture and pantomime rather than words.…”

Section: The Mediating Function Of Serial Figuresmentioning

confidence: 99%

Gaming and the ‘Parergodic’ Work of Seriality in Interactive Digital Environments

Denson¹

2021

EJCGC

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Twentieth-century serial figures enacted a “parergonal” logic by crossing boundaries between various media, slipping in and out of their frames, and showing them—in accordance with a Derridean logic of the parergon—to be reversible. With the rise of interactive, networked, and convergent digital media environments, these medial logics are transformed. A figure like Batman exemplifies the transition from a “parergonal” to a new “parergodic” logic; the latter term builds upon Espen Aarseth’s notion of the “ergodic” situation of gameplay—where ergodics combines the Greek ergon (work) and hodos (path), thus positing nontrivial labor as the aesthetic mode of players’ engagement with games. Ergodic media give rise to new forms of seriality that accompany, probe, and trace the developmental trajectories of the new media environment and the blurring of relations between work and play, between paid labor and the incidental work culled from our leisure and entertainment practices.

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Section: The Mediating Function Of Serial Figuresmentioning

confidence: 99%