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

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Auteur(s) : Murray Leeder

Editeur : Bloomsbury Academic

Langue : Anglais

Parution : 30/06/2015

Format : Moyen, de 350g à 1kg

Nombre de pages : 320

Expédition : 472

Dimensions : 22.9 x 15.4 x 2.5

ISBN : 1628922133

Résumé :

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.

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Biographie:
Murray Leeder...

Sommaire:

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