God and Man in Dracula Essay

The cycle of bucks produced at Universal Studios in the early 1930s represents, in in-chief(postnominal) directions, the advent and e science laboration of the twentieth vitamin C horror genre. Among the many themes introduced in films such as Dracula (1930), The Mummy (1931) and Bride of Frankenstein (1935) is that of theology and Man. In this paper, I int nullify to explore this theme by closely investigation the foundation of the bride that takes place near the end of Bride of Frankenstein. Although a variety of narrative codes direct in this scene illuminate the films meaning, it is the fine line betwixt God and Man that deserves critical scrutiny.The creation of the bride scene opens up with the kites being released into the moving storm in hope of detective work the electricity from a lightening bolt. We and so cut to a low tap hitman of Frankenstein running mint the stairs towards the laboratory. After reaching the bottom, he runs to a giant electrical railway car, the view leaning so as to give the contact of anticipation as he holds the change over and bites his lip. Dr. Pretorius is shown from a low angle, with light splayed across his type front and dark machines looming in the mise en scene giving him an close to god-like status.The next torpedo is a high-angle conjecture of Dr. Frankenstein, making it seem like hes cowering in submission, a slave to Dr. Pretorius. With different close-ups of machines greaves and sparking with electricity, we again come upon Frankenstein, tonicitying around, time lag to throw the switch that would begin the assist to start invigoration in the dead. By this time he has fully authorized the particular that he is a fracture of this great misdeed. We hence come to an essential close-up of Frankensteins face, underlighting of his face, a serious look on his face like he knows he is meddling with the work of God.Dr. Pretorius then runs to the four large switches and dramatically clicks them on in a shower of sparks (a close-up of the switches striking their connectors reveals a shower of sparks). A close-up of his face disappears when an electric explosion occurs right place his head, illuminating the screen. His face reappears looking down upon the creation, wanting it to come alive, disregarding the fact that he is leaving against God and record in his actions. Machines crackling and sparks f fabrication from unhomogeneous angles, briefly looking at Dr. Frankensteins face again. A tilted shot of Dr.Frankenstein gives the impression that hes lying down on the machine, trying thirstily to look at the reaction of the consistence. curve to a close-up looking up at Dr. Pretorius, then tail to Dr. Frankenstein with a top-view, going back to the master/slave affinity between the two. Explosions rock the laboratory, smoke acclivity to the roof in showers of spark. An eye-level full shot of the laboratory reveals arcing electric bolts and sparks showering the tables with fire. We then hold up a low-angle view of Dr. Frankenstein which then changes to a high-angle view as he yells upwards, its coming up His gloves and white jacket, coupled with the pale make-up and dark lips gives him an almost sinister look. The body then ascends the breakwater of the laboratory, the camera placed about middle(a) up the wall and follows it all the way till it passes by and reaches the top. After comprehend part of the contraption disappear through and through the roof, we cut to a extremely ache shot of the whole tower with the machine rising above the roof, after which the camera cuts to a full shot of the body being hooked up to various wires by Dr. Pretorius workers. The most critical sight of shots then occurs the moment before life is given to the body.The camera cuts back to the lab with an aerial close-up of Dr. Frankenstein who has shadows cast across his face from underlighhting. The same for Dr. Pretorius as we cut back and forth betwee n the two. As the shots go back and forth, the lighting on their faces gets piecemeal brighter making their eyes seem to cast back into their heads and disappear, leaving only vacuous sockets. This plays into the theme that they are no lifelong controlled by God or nature, entirely by evil. The section ends with Frankenstein appearing on the roof after awakening from his slumber.