The thesis provides a queer reading of Mary Shelley’s well known novel Frankenstein or the Modern Prometheus by scrutinizing the text and the comparison among the film adaptations, including Frankenstein (1910), Bride of Frankenstein (1935), Mary Shelley’s Frankenstein (1994), The Frankenstein Theory (2013), I, Frankenstein (2014), and the latest film adaptation Victor Frankenstein (2015). In the thesis, I argue that Victor Frankenstein is a homosexual living in the Victorian era when the homophobic society vastly values domestic life and marriage. The heteronormative society distresses Victor so much that he creates the monster as his alter ego and commits all the murders, including killing himself due to desperation in the end. To make such claim, I examine the monster representation and physiognomy first to present how the novel and film adaptations construct the image of the monster. In so doing, I also prove the common belief on the monster’s physical existence. Then I move forward to examine some ambiguous passages describing Victor and the monster both in the novel and film adaptations. Not only the physiognomy but also does the overlapping language use of Victor and the monster enable us to conclude that Victor and the monster is in fact the same unity. Finally, I explain the murder cases based upon Victor’s homosexuality which has been repressed to a certain extent until he could not bear it anymore and commits the crime. Victor Frankenstein, as I contend, is both a victim and murderer in the Victorian era.