Archetypes In Frankenstein: Unmasking The True Monster


Monsters, in general, are normally put under the category of a creature that possesses some form of inhuman qualities or some type of disproportion, is viewed as evil, and has no empathy for mankind. The term monster can also refer to a person who has done terrible things in life that poorly affect others around them. In the novel Frankenstein, many people label his creation as a monster because of only his visible appearance and Victor as a rejection of everyone around him. Now, with the statement that the monster in the novel Frankenstein should be destroyed, I don’t agree with this. I believe that Victor is the true monster in this story as the creature is the outcast in society itself.

Victor Frankenstein’s Transformation into the Archetypal Monster

Victor’s unnatural obsession with creating life and wanting to become a God-like being ultimately leads to his demise and the death of his close loved ones. When Victor first brings the monster to life, he says, …breathless horror and disgust filled my heart. Unable to endure the aspect of the being I had created, I rushed out of the room. Victor here acts as a monster because he views the life he created with disgust and refuses to assist it in the world. He shows no compassion or empathy towards him; Victor says, Begone! I do break my promise; never again will I create another like yourself, equal in deformity and wickedness.

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Even though this entire thing is his fault, he refuses to accept the consequences of his actions. He is the reason that everyone he loves dies. By creating the monster, then rejecting it, and failing the one request of making a friend, the creature kills all of his loved ones, which is due to his lack of responsibility for accepting his creation. He then manages to destroy the creature’s life and his own because of his selfishness and poor acts. His poor life decisions are enough to call him the monster in this story.

The creature lives a life of rejection from Victor and society in general. He is almost always perceived as the monster in the story strictly because of his looks. Society is quick to judge before he is given the chance to express how he really is. All he wants is acceptance from Victor and everyone else, but only because he looks different; he is outcasted. He is rejected many times by Victor and the family in the woods. The old blind man in the woods has no issue talking to the creature because he’s not able to see his deformities. When the rest of the family came back to their house, Agatha fainted, and Safie, unable to attend to her friend, rushed out of the cottage¦ Felix..dashed me to the ground and struck me violently with a stick. The family in the woods is quick to judge based on his looks and never allows the creature to explain or speak for himself. The creature is a victim and an outcast who lives a life of rejection when he only wants good for mankind. He realizes this and says, I am alone and miserable; man will not associate with me. All he ever wanted and needed was for someone to take him and teach him the ways of life.


By only physical appearance, the creature is often perceived as the monster in Frankenstein, but he is just a mistreated outcast in society trying to only do the right thing. Society judges based on his looks and never gives his personality a chance. Victor is the true monster through his actions and personality throughout the story. Victor’s hostility towards the creature, obsession with creating life, and longing for a God-like status and power all truly reveal the inner monster Victor possesses. Victor is a real monster who destroys his life, while the creature is just an outcast in society who searches for affection and acceptance.


  1. “Frankenstein’s Cat: Cuddling Up to Biotech’s Brave New Beasts” by Emily Anthes

  2. “The Casebook of Victor Frankenstein” by Peter Ackroyd

  3. “Frankenstein: Lost Souls” by Dean Koontz Dean Koontz

  4. “Frankenstein: The 1818 Text” by Mary Shelley

Casablanca Theme Of Love And War: Exploring Classic Hollywood Cinema


The 1942 film Casablanca tells the tale of Rick Blaine (Humphrey Bogart) and his unknowingly forbidden love for Ilsa Lund (Ingrid Bergman) as they traverse their affair against the backdrop and conflicts of World War II. The movie accomplishes its classical Hollywood narrative through the use of the “invisible” style of editing.

The Essence of Continuity Editing

The editing is continuous, allowing the viewer to focus on the characters and the events taking place. By never interrupting the film with ambiguity, the viewer is always aware of the eye line match whenever a character is looking at something. The diegetic or actual sound of the character’s dialogue reveals their emotions and enables the audience to see what is going on without distraction. The lighting is high contrast in the black and white film, with Rick often cast in shadow. Much of the film is shot at night, enhancing the mood of war and despair. When the sound of the piano playing is heard, a spotlight moves across the shot, emphasizing its significance. The non-diegetic or added sound serves a purpose as well. This begins with the narration in the opening scene that sets the time, place, and situational dilemma of the movie.

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The background music used throughout the film creates a feeling of nostalgia and heightens the theme of the lost love between Rick and Ilsa. The camera is there to represent the sightline of the viewer. Employing no trick shots, the characters are squarely positioned in the middle of the scene, following them as they walk as one would do if they were actually there. This invisible style of the film permeates the editing technique, particularly when there is conversation. This is done by focusing on the character that is speaking and not cutting away until they reach a break or the end of their sentence.

Significance of Diegetic and Non-Diegetic Sound

A scene in Casablanca that clearly exemplifies the technique of continuity editing is the viewer’s introduction to Rick’s Café. It begins with a close-up of the sign Rick’s Café American, which establishes the setting for the sequence that follows. The camera moves slowly and smoothly throughout the café, passing by a diverse selection of clientele, which includes French and German military officers, stylish women, and locals in traditional Moroccan attire. The chic vibe of the posh club is evident, thus establishing the exotic mise-en-scene. The scene seems to flow and unfold effortlessly, panning the premises, always allowing the viewer to be aware of space and time. The camera then moves in and focuses on a close-up of the piano player, Sam, singing It Had To Be You. This is followed by several interactions between the customers, which paint the picture of the desperation of the refugees to obtain the necessary exit visas to escape Casablanca by any means. The viewer can concentrate on the character’s problems and struggles and problems because there are no sudden camera jumps or awkward angles to distract them.


Casablanca is a prime and enduring example of Classic Hollywood Cinema and the invisible film style. It adheres to all of its major elements and techniques, telling the story seamlessly without drawing attention to the editing behind the scenes.


  1. “Casablanca: Movies and Memory” by Marc Augé 

  2. “Round Up the Usual Suspects: The Making of Casablanca – Bogart, Bergman, and World War II” by Aljean Harmetz 

  3. “Casablanca and Other Major Films of Michael Curtiz” by James C. Robertson

  4. “Hollywood’s American Tragedies: Dreiser, Eisenstein, Sternberg, Stevens” by Michael Andre Bernstein

  5. “Casablanca: Script and Legend” by Howard Koch and Aljean Harmetz 

  6. “Casablanca: An Unlikely Classic” by Brendan Gill

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