reanimation

Paul Auster, the prolific novelist, memoirist and screenwriter who rose to fame in the 1980s with his postmodern reanimation of the noir novel and who endured to become one of the signature New York writers of his generation, died of complications from lung cancer at his home in Brooklyn on Tuesday evening.

Godwin’s home is inhabited by a menagerie of sutured creatures from past experiments — a chicken with a pig’s head and a goose with a dog’s body, for example — along with Bella, his most treasured work of reanimation.

Moss explains that her protagonist Rose, who conducts reanimation experiments in her grim New York City apartment, was imagined as a “fusion” of Shelley and Shelley’s on-the-page creation, Dr. Victor Frankenstein.

Because the film deals with death and reanimation, the composer favored instruments that rely on human breath and others that he then manipulated to “a really unnerving effect,” he says.

Because the film deals with death and reanimation, Fendrix favored instruments that rely on human breath — flutes and oboes — as well as ones that are animated mechanically — pipe organ, bagpipe, accordion — that he then attempted to bend in a way that imitated human speech, which created “a really unnerving effect,” he says.