Monstrosity, Identity and Music: Mediating Uncanny Creatures from Frankenstein to Videogames

Half Title\nTitle Page\nCopyright Page\nContents\nIllustrations\nContributors\nAcknowledgments\nIntroduction\nPart I: Frankenstein in Film, Theater, Music, Comics, and Visual Art\n	Chapter 1: Frankenstein’s Frontispiece, the Missing Phallus, and the Pornographer: The Alchemy of Conceiving Monstrosities\n	Chapter 2: Mashing the Medium: The Aesthetics of Screen Frankensteins\n	Chapter 3: Frankenstein and the Media of Serial Figures\n	Chapter 4: Musical Directions, Sound, Silence, and Song in Presumption, or the Fate of Frankenstein (1823)\n	Chapter 5: Birth of a “Miserable Monster”: The Alchemical Theatricality of Male Self-Procreation in Stage and Screen Adaptations of Frankenstein\n	Chapter 6: Excising the Repulsive: Metaphysics and Psychology in Edison’s Frankenstein (1910)\n	Chapter 7: Frankenstein’s Organ Transplant: Adaptation in Afro-Futurist and Electronic Dance Musics\nPart II: Monstrosity in Music, Film, and Videogames\n	Chapter 8: Monstrosity as a Queer Aesthetic\n	Chapter 9: Twelve-tone Terror: Representing Horror and Monstrosity in Dodecaphonic Film Music\n	Chapter 10: The Horror, the Horror!: White Women are the True Monsters in Jordan Peele’s Get Out\n	Chapter 11: Indigeneity as Monstrosity in The Four Skulls of Jonathan Drake\n	Chapter 12: A “Distaste for . . . Allegory” or: In the Bowels of Horror\n	Chapter 13: Tragic Wraiths, Seductive Sirens, and Man-Eating Vampires: Female Monstrosity in The Witcher 3: Wild Hunt Video Game\nBibliography\nFilmography\nIndex