By Andrew L. Grunzke (auth.)
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Extra info for Educational Institutions in Horror Film: A History of Mad Professors, Student Bodies, and Final Exams
Dracula is an inversion of Christ; he sheds the blood of his followers for his own eternal life. In having achieved the secret of eternal life, Dracula is unable to age, perpetually locked in the present. Van Helsing creates a future in the face of Dracula’s static present. 23 Dracula’s threat is multifaceted, simultaneously natural and supernatural. He aims for the destruction of both the individual and the entire civilization. Such a problem requires an equally comprehensive solution. 24 Frankenstein and Van Helsing in the Hands of Universal Films In Monster and Mad Scientists: The Cultural History of the Horror Movie, Andrew Tudor divides the history of the horror film into five eras based on thematic, aesthetic, and structural similarities among the films: the classic period, 1931–1936; the war Is There a Doctor in the House?
24 Frankenstein and Van Helsing in the Hands of Universal Films In Monster and Mad Scientists: The Cultural History of the Horror Movie, Andrew Tudor divides the history of the horror film into five eras based on thematic, aesthetic, and structural similarities among the films: the classic period, 1931–1936; the war Is There a Doctor in the House? 27 period, 1941–1946; 1950s boom, 1956–1960; 1970s boom, 1971–1974; and sustained growth, 1978–1983. Universal Pictures was the dominant producer of horror films throughout the classic and war periods.
Like the ending of The Revenge of Frankenstein, the beginning of Frankenstein Must Be Destroyed leaves the audience with the impression that Frankenstein’s creations are simply other victims; the scientist himself is the monster. Negative comments about Dr. Frankenstein pepper the film. ” Unbeknownst to the men conversing in the lobby, Frankenstein overhears their comments. He does not respond kindly. He compares them to “cavemen” for dismissing the medical advances represented by the work of Drs.