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The Frankenstein narrative is one of cinema's most durable, and it is often utilized by the studio system and the most renegade independents alike to reveal our deepest aspirations and greatest anxieties. The films have concerned themselves with demarcations of gender, race, and technology, and this new study aims to critique the more traditional interpretations of both the narrative and its sustained popularity. From James Whale's Frankenstein (1931) through Kenneth Branagh's Mary Shelley's Frankenstein (1994), the story remains a nuanced and ultimately ambivalent one and is...

A state of the art presentation of important advances in the field of digital holography, detailing advances related to fundamentals of digital holography, in-line holography applied to fluid mechanics, digital color holography, digital holographic microscopy, infrared holography, special techniques in full field vibrometry and inverse problems in digital holography

Nietzsche's remarks about women and femininity have generated a great deal of debate among philosophers, some seeing them as ineradicably misogynist, others interpreting them more favorably as ironic and potentially useful for modern feminism. In this study, Kay Picart uses a genealogical approach to track the way Nietzsche's initial use of "feminine" mythological figures as symbols for modernity's regenerative powers gradually gives way to an increasingly misogynistic politics, resulting in the silencing and emasculation of his earlier configurations of the "feminine."

While other...

Challenging the classic horror frame in American film

American filmmakers appropriate the look of horror in Holocaust films and often use Nazis and Holocaust imagery to explain evil in the world, say authors Caroline Joan (Kay) S. Picart and David A. Frank. In "Frames of Evil" "The Holocaust as Horror in American Film," Picart and Frank challenge this classic horror framethe narrative and visual borders used to demarcate monsters and the monstrous. After examining the way in which directors and producers of the most influential American Holocaust movies default to this Gothic frame,...

This book presents a substantial description of the principles and applications of digital holography.
The first part of the book deals with mathematical basics and the linear filtering theory necessary to approach the topic. The next part describes the fundamentals of diffraction theory and exhaustively details the numerical computation of diffracted fields using FFT algorithms. A thorough presentation of the principles of holography and digital holography, including digital color holography, is proposed in the third part.
A special section is devoted to the algorithms and...

The endurance of the Frankenstein narrative as a modern cinematic myth is undeniable. Its flexibility has produced classic and contemporary horror film-most notably the Universal films of the thirties-but it has also resulted in unusual hybrids, such as musical horror-comedy ("The Rocky Horror Picture Show"), hyperbolic parody ("Flesh for Frankenstein"), and science fiction (the "Alien" and "Terminator" series). This sourcebook provides a complete guide to all of the story's filmic incarnations-including essential information such as cast, creative personnel, and plot summaries-and also...

Challenging the classic horror frame in American film

American filmmakers appropriate the look of horror in Holocaust films and often use Nazis and Holocaust imagery to explain evil in the world, say authors Caroline Joan (Kay) S. Picart and David A. Frank. In "Frames of Evil" "The Holocaust as Horror in American Film," Picart and Frank challenge this classic horror framethe narrative and visual borders used to demarcate monsters and the monstrous. After examining the way in which directors and producers of the most influential American Holocaust movies default to this Gothic frame,...