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Der Übergang von einem aus Leichenteilen zusammengenähten toten Körper zu einem lebenden Monster geschieht ausser Sicht des Beschauers unter freiem Himmel während eines heftigen Gewitters. Frankenstein holt ihn als Lebendigen wieder "auf die Erde".
“In this vein, the work of Otto Dix and Ernst Juenger is examined to shed light on Whales' theme of re-animation. Mary Shelley's original concept of a creature borne from the executed criminals paraded in nineteenth-century anatomy theatres easily anticipates the modern, capitalist notion that the destruction of war can generate production and profit.” ……………
Whale, the German painter Otto Dix had also served in the Great War. Dix frequently portrayed the ruin of war as simply another phase in the growth of an organic nature. In her examination of Dix, Maria Tatar extends the transformation of one sphereʼs destruction into anotherʼs production to include the seizure of female function to create a parthenogenetic moment for the male.
She argues that Dixʼs war paintings depict the “displacement of the female body” altogether, and convey “the appropriation of its biological functions through the creative energies of male autogeny”, an appropriation that represents “a new order in which men engage in regeneration as they expire on the battlefields” (24). Dix himself proclaimed that “even war should be perceived as a natural occurrence” and that “all wars are waged over and because of the vulva” (25).
With this claim, he suggests a decisive correlation between male combat and female reproductive capabilities; further, he suggests that the latter gives rise to the former.”
Christiane Gerblinger, James whale's frankensteins reanimating the great war, Cineaction, 82/83 2010 / http://www.cineaction.ca/wp-content/uploads/2014/04/issue8283sample.pdf)siehe auch „Frankensteins Braut“
Siehe auch “Frankensteins Braut” und “Gods and Monsters” (Biopic von J. Whale)
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