Iconic Frankenstein Quotes

Monster stories are powerful. They explore prejudice, rejection, anger and every imaginable negative aspect of living in society. However, only half of society is reflected in the ranks of the people who create these monsters. Almost every single iconic monster in film is male and was designed by a man: the Wolfman, Frankenstein, Dracula, King Kong. The emotions and problems that all of them represent are also experienced by women, but women are more likely to see themselves as merely the victims of these monsters. Women rarely get to explore on-screen what it's like to be a giant pissed-off creature. Those emotions are written off. If a woman is angry or upset, she'll be considered hysterical and too emotional. One of the hardest things about misogyny in the film industry isn't facing it directly, it's having to tamp down your anger about it so that when you speak about the problem, you'll be taken seriously. Women don't get to stomp around like Godzilla. Someone will just ask if you're on your period.

The sharpie uniform is perhaps the most unlikely fashion statement you will ever see, a Frankenstein’s monster of baby-doll plucked eyebrows, skinhead-meets-mullet hair, 1970s fat ties and just a hint of bovver boy. Clothes worn too tight and too small. Kerry had prepared a shopping list: • bluebird earrings • three-inch Mary Jane corkie platform shoes • treads (shoes made using recycled tyres for the sole with suede thonging for the upper) • Lee canvas jeans • beachcombers • short white bobby socks • ribbed tights • a short, flared, preferably panelled skirt • satin baggies • a striped Golden Breed t-shirt or a KrestKnit polo shirt • a tight coral necklace from the surf shop • a Conti brand striped cardigan • blue metallic eye shadow from a small pot or a crayon

The Gothic repeatedly stages moments of transgression because it is obsessed with establishing and policing borders, delineating strict categories of being. The enduring icons of the Gothic are entities that breach the absolute distinctions between life and death (ghosts, vampires, mummies, zombies, Frankenstein's creature) or between human and beast (werewolves and other animalistic regressions, the creatures spliced together by Dr. Moreau) or which threaten the integrity of the individual ego and the exercise of will by merging with another (Jeckyll and Hyde, the persecuting double, the Mesmerist who holds victims in his or her power). Ostensibly, conclusions reinstate fixed borders, re-secure autonomy, and destroy any intolerable occupants of these twilight zones.