Professional Documents
Culture Documents
Jennifer Bean
CMS 272
14 April 2021
Formal Exercise 1
When it comes to James Whale’s Bride of Frankenstein, the director makes several
deliberate choices that properly convey the sheer fear that comes with bringing to life the Bride
of Frankenstein. Some of these include choices in lighting, set design, shot length, and camera
angle. In this harrowing sequence, the lighting and set design work together cohesively to portray
an intensity and panic coded in the film’s use of electricity and the shot length and camera angle
invoke feelings of unease and claustrophobia as we as an audience are brought into proximity of
the subject by the camera. These choices all allude to the power dynamic in one of the central
In this forty second sequence of the film, we watch Dr. Frankenstein and Dr. Pretorious
try to electrocute the female corpse they have created in order to bring it to life. In line with this,
the set is full of lights, machines, currents, and coils that the camera takes turns focusing on.
There is clearly something greater than the two doctors at work here, as they are both surrounded
and outnumbered by the machines they are using. A singular machine or light might not have
been so intimidating for the two doctors and audience, but instead, the laboratory is flooded by
them. Hence, the two doctors are dealing with something that is seemingly beyond and bigger
than them. In terms of lighting, the sequence is full of high contrast lighting and rapid flashes
from the machines and lightning. This high contrast lighting emphasizes the startling nature of
the flashing lights, heightening our sense of unease and fear. The faces of Dr. Frankenstein and
Dr. Pretorious are also hollowed out by this contrast, giving them gaunt facial features that seem
distorted and less human. If the contrast had been softer, the scene would have appeared warmer
and less frightening. However, with Whale’s decisions regarding the lighting of this sequence, he
successfully heightens every sense of anxiety and instability that the audience should be feeling.
From a cinematography standpoint, Whale also makes several choices that play into the
man vs. god themes of the film. First of all, after Dr. Frankenstein enters the labs, nearly all of
the shots are close ups or extreme close ups. The audience’s view is restricted to only the lights,
machines, and facial expressions of both doctors. As a result, we have no reprieve from the chaos
that is happening on screen and are intimately familiar with both the commotion and the doctors’
anticipations and fears. If the scene had been shot from far away, it would have easily been less
discomforting from the audience as it’s less stressful to watch a dangerous situation from afar
rather than be immersed in it yourself. Similarly to the flashy lighting from earlier, these traits
agitate the scene and make it seem almost out of control of the two doctors. Secondly, the camera
angles Whale chooses to capture his subjects have their own effects as part of the sequence.
Whale frequently uses high angle shots to capture Dr. Frankenstein, which makes him seem
small in comparison to what’s happening around him. As a man who is essentially out of his
league playing a god-like figure, Whale captures Dr. Frankenstein’s true powerlessness. On the
other hand, Dr. Pretorious is usually shot from a low angle, which in turn makes him seem larger
than life; he is after all, the mastermind behind the Bride of Frankenstein, and Dr. Frankenstein is
merely his tool. However, Whale also employs the Dutch angle for Dr. Pretorious. Typically used
to denote mental instability, the Dutch angle colors the audience’s impression of Dr. Pretorious
here. He may be the mastermind, but he’s also a little mad; perhaps his dreams of playing god
thoughts on what Dr. Frankenstein and Dr. Pretorious are trying to do. Dr. Frankenstein and Dr.
Pretorious may be trying to play god, but Whale’s lighting, set design, shot length, and camera
angles give every indication that they shouldn’t be and that the Bride Frankenstein is above their
pay grade.