@article{oai:nagoya.repo.nii.ac.jp:00027990,
 author = {小林, 徹 and Kobayashi, Toru},
 journal = {IVY},
 month = {Oct},
 note = {As most people know, the story of human creation has almost always been told, or heard, along with a particular name, Frankenstein. The story itself originated with Mary Shelley, who published a gothic novel Frankenstein in 1818. But the present popularity of the story does not stem from her literary work but from a series of films repeatedly made throughout the twentieth century featuring the Frankenstein figure and its creation, the monster. In this essay, critical attention is paid to the historical moment when the Frankenstein story was visualized to appear in film theaters for the first time and was decisively endowed with enduring life. In 1931 a film version of Frankenstein, directed by James Whale, was released and applauded by both critics and audiences. However, the problem is how the actual situation consists of the Frankenstein story, the early 1930s and film as a fine art. Walter Benjamin's "The Work of Art in the Age of Mechanical Reproduction" is helpful here, because it was published in almost the same time and is really concerned with the relationship between the public and films. There are so many differences between the novel and its film version, for example, the creator's name (in the film he is Henry Frankenstein, not Victor as in the novel) and faculties given to the monster (he cannot articulate words and speculate about serious matters as he does in the novel), but what is most important is the introduction of two factors into the film, the machinery and the public. One is shown in the scene of the creation, which means that the monster is a machine-made product much similar to the films themselves as Benjamin persuasively argues. On the other hand the public appears in the latter half of the film as they congregate on the protagonist's wedding and chase the killer monster to the mountains. Their actions are considerable along with Benjamin's arguments about "social functions" which films should have to audiences and the contemporary situation the public settles in under a capitalistic system. They figuratively represent the course of the revolutionary movement which Benjamin ardently expects working-class people can initiate after being mentally prepared through watching films. The film version of Frankenstein stands on the actual circumstances which concern the public in social and artistic ways during the early 1930s.},
 pages = {1--18},
 title = {機械が造るモンスター : 『フランケンシュタイン』， 映画，そして1930年代初頭},
 volume = {36},
 year = {2003}
}