Cinematic Ghosts: Haunting and Spectrality from Silent Cinema to the Digital Era by Murray LeederCinematic Ghosts: Haunting and Spectrality from Silent Cinema to the Digital Era by Murray Leeder

Cinematic Ghosts: Haunting and Spectrality from Silent Cinema to the Digital Era

EditorMurray Leeder

Paperback | July 30, 2015

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In 1896, Maxim Gorky declared cinema "the Kingdom of Shadows." In its silent, ashen-grey world, he saw a land of spectral, and ever since then cinema has had a special relationship with the haunted and the ghostly. Cinematic Ghosts is the first collection devoted to this subject, including fourteen new essays, dedicated to exploring the many permutations of the movies' phantoms. Cinematic Ghosts contains essays revisiting some classic ghost films within the genres of horror (The Haunting, 1963), romance (Portrait of Jennie, 1948), comedy (Beetlejuice, 1988) and the art film (Uncle Boonmee Who Can Recall His Past Lives, 2010), as well as essays dealing with a number of films from around the world, from Sweden to China. Cinematic Ghosts traces the archetype of the cinematic ghost from the silent era until today, offering analyses from a range of historical, aesthetic and theoretical dimensions.
Murray Leeder is Adjunct Assistant Professor in Communication, Media and Film at the University of Calgary, Canada. He is the author The Modern Supernatural and the Beginnings of Cinema (2017) and Halloween (2013), and editor of Cinematic Ghosts (2015) and ReFocus: The Films of William Castle (2018).
Title:Cinematic Ghosts: Haunting and Spectrality from Silent Cinema to the Digital EraFormat:PaperbackDimensions:320 pages, 9.02 × 6.03 × 0.78 inPublished:July 30, 2015Publisher:BloomsburyLanguage:English

The following ISBNs are associated with this title:

ISBN - 10:1628922133

ISBN - 13:9781628922134

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Table of Contents

Acknowledgements Introduction Murray Leeder, University of Calgary, Canada Ghosts of Pre-Cinema and Silent Cinema Chapter 1 Phantom Images and Modern Manifestations: Spirit Photography, Magic Theater, Trick Films and Photography's Uncanny Tom Gunning, University of Chicago, USA Chapter 2 "Visualizing the Phantoms of the Imagination": Projecting Haunted Minds Murray Leeder, University of Calgary, Canada Chapter 3 Specters of the Mind: Ghosts, Illusion, and Exposure in Paul Leni's The Cat and the Canary Simone Natale, Humboldt University, Germany Chapter 4 Supernatural Speech: Silent Cinema's Stake in Visualizing the Impossible Robert Alford, University of California, Berkeley, USA Cinematic Ghosts from the 1940s through the 1980s Chapter 5 Bad Sync: Spectral Sound and Retro-effects in Portrait of Jennie Ren¿ Thoreau Bruckner, University of Southern California, USA Chapter 6 "Antique Chiller": Quality, Pretention and History in the Critical Reception of The Innocents and The Haunting Mark Jancovich, University of East Anglia, UK Chapter 7 Shadows of Shadows: The Undead in Ingmar Bergman's Cinema Maurizio Cinquegrani, University of Kent, UK Chapter 8 Locating the Spectre in Dan Curtis's Burnt Offerings Dara Downey, University College Dublin, Ireland Chapter 9 The Bawdy Body in Two Comedy Ghost Films: Topper and Beetlejuice Katherine A. Fowkes, High Point University, USA Millennial Ghosts Chapter 10 "I See Dead People": Visualizing Ghosts in the Horror Film Before the Arrival of CGI Steffen Hantke, Sogang University, Korea Chapter 11 Spectral Remainders and Transcultural Hauntings: (Re)iterations of the Onryo in Contemporary Japanese Horror Cinema Jay McRoy, University of Wisconsin - Parkside, USA Chapter 12 Painted Skin: Romance with the Ghostly Femme Fatale in Contemporary Chinese Cinema Li Zeng, Illinois State University, USA Chapter 13 "It's Not the House that's Haunted": Demons, Debt and the Family in Peril in Recent Horror Cinema Bernice M. Murphy, Trinity College, Dublin, Ireland Chapter 14 Glitch Gothic Marc Olivier, Brigham Young University, USA Chapter 15 Showing the Unknown: Uncle Boonmee Who Can Recall His Past Lives Mitsuyo Wada-Marciano, Carleton University, Canada Afterword: Haunted Viewers Jeffrey Sconce, Northwestern University, USA

Editorial Reviews

There is much to interest readers and the book will (dare I say it) leave them in good spirits ... A thoughtful and entertaining addition to any film or religion studies collection, whether for personal or professional purposes, at undergraduate or postgraduate level.