Cinema is ideally suited to the world of psychic phenomena. A technique as simple as a voice-over can simulate mental telepathy, while unusual lighting, set design, or creative digital manipulation can conjure clairvoyant visions, precognition, or even psychokinesis. This book analyzes the depiction of paranormal powers in film, examining how movies like Star Wars, Independence Day, The Green Mile, and dozens of others both reflect and influence the way modern society thinks about psychic abilities. The theme is explored in nearly 100 films from a variety of genres including drama, comedy, horror, science fiction, crime melodrama, and children's films, providing a concise review of the history and concepts of mainstream cinematic parapsychology.

This fascinating work provides a complete overview of paranormal phenomena, including the beliefs, attitudes, and notable figures who have attempted to explain, defend, or debunk the mysteries behind the unknown. Recent interest in the paranormal as pop culture fodder belies its historical status as an important subject of cultural, philosophical, and scientific significance. This book traces the trajectory of paranormal studies from its early role as a serious academic and scientific topic studied by mainstream scientists and eminent scholars to its current popularity in books, film, and TV. This compelling reference work details the experiences, encounters, and ideas that make up this controversial field of study. The contributed entries examine the broad phenomena of the paranormal, addressing the history of scientific investigations along with its contemporary media depictions to illustrate the evolution of cultural attitudes about the paranormal. A selection of primary documents provides real-life accounts and contributions from noted experts that explore the full scope of themes from spiritualism to poltergeists to astrology. Accompanying images, timelines, quotations, and sidebars make the content come to life and encourage alternative explanations of these events.

Shakespeare, Cinema and Desire explores the desires and the futures of Shakespeare's language and cinematographic adaptations of Shakespeare. Tracing ways that film offers us a rich new understanding of Shakespeare, it highlights issues such as media technology, mourning, loss, the voice, narrative territories and flows, sexuality and gender.

The alien abduction phenomenon is one of the enduring enigmas of our time. While the reality of alien abductions is a hotly debated topic among UFO researchers, scientists, skeptics and true believers alike, the phenomenon indisputably exists as an artifact of popular culture. This book analyzes more than 75 films that draw their inspiration from allegedly fact-based accounts of alien contact, from 1951's The Man from Planet X to Contactee in 2021. These films are examined in terms of both their cinematic qualities and their exploration of thematic elements derived from abduction reports. Abduction motifs that appear in science fiction classics such as The Day the Earth Stood Still, 2001 and Close Encounters are analyzed, as well as those in lesser-known films like The Stranger Within, Starship Invasions, Dark Skies and Proximity. Special attention is given to movies based on the famed experiences of abductees Betty and Barney Hill, Whitley Strieber and Travis Walton. The book also addresses skeptical theories about the origins of the phenomenon in science fiction and examines an uncanny prescience that appears to anticipate these inexplicable occurrences.

Exploring the dead/alive figure in such films as The Ring, American Beauty , and The Elephant Man , Vincent Hausmann charts the spectacular reduction of psychic life and assesses calls for shoring up psychic/social spaces that transfer bodily drives to language.

Over the course of several decades, scientific fact has overtaken science fiction as humankind's understanding of the universe has expanded. Mirroring this development, the cinematic depictions of space exploration over the last century have evolved from whimsical sci-fi fantasies to more fact-based portrayals. This book chronologically examines 75 films that depict voyages into outer space and offers the historical, cultural, and scientific context of each. These films range from Georges Melies' fantastical A Trip to the Moon to speculative science fiction works such as 2001: A Space Odyssey, Solaris, and Contact, and fact-based accounts of actual space missions as depicted in The Right Stuff, Apollo 13, Salyut 7 and First Man. Each film is analyzed not only in terms of its direction, screenplay, and other cinematic aspects but also its scientific and historical accuracy. The works of acclaimed directors, including Fritz Lang, George Pal, Stanley Kubrick, Andrei Tarkovsky, Robert Wise, Ron Howard, Robert Zemeckis, Ridley Scott, and Christopher Nolan, are accorded special attention for their memorable contributions to this vital and evolving subgenre of science fiction film.

A popular phenomenon since antiquity, the image of the haunted house is one that has translated elegantly into the modern medium of film. The haunted house transcends genre, appearing in mysteries, gothic romances, comedies and horror films. This book is the first comprehensive historical and critical study of themes surrounding haunted houses in film. Covering more than 100 films, it spans from the Mystery House thrillers of the silent era to the high-tech, big budget productions of the 21st Century. Included are the works of such acclaimed directors as D.W. Griffith, Robert Wise, Mario Bava, Alfred Hitchcock, Stanley Kubrick, Tim Burton and Guillermo Del Toro. The book also covers the real-life "haunted house" phenomenon and movies based on paranormal case files, including those featured in films like the Conjuring series.

Vampires have been a popular subject for writers since their inception in 19th century Gothic literature and, later, became popular with filmmakers. Now the classical vampire is extinct, and in its place are new vampires who embrace the hi-tech worlds of science fiction. This book is the first to examine the history of vampires in science fiction. The first part considers the role of science and pseudo-science, from late Victorian to modern times, in the creation of the vampire, as well as the "sensation fiction" of J. Sheridan Le Fanu, Bram Stoker, Arthur Conan Doyle and H.G. Wells. The second part focuses on the history of the science fiction vampire in the cinema, from the silent era to the present. More than sixty films are discussed, including films from such acclaimed directors as Roger Corman, David Cronenberg, Guillermo del Toro and Steven Spielberg, among others.

This book examines a spate of American films released around the turn of the millennium that differently address the actuality or possibility of domestic fascism within the USA. The films discussed span a diversity of forms, genres and production practices, and encompass low- and medium-budget studio and independent releases (such as American History X, Stir of Echoes and The Believer), star and/or auteur vehicles (such as The Siege, Fight Club and American Beauty), and high-budget, high-concept science-fiction films and franchises (such as Starship Troopers, Minority Report, the Matrix and X-Men trilogies and the Star Wars prequels). Central to the book is the detailed analysis of the films, which is contextualized historically in relation to a period that saw the significant rise of the far Right. The book concordantly affords a wider insight into fascism and its various manifestations and how such have been, and continue to be, registered within American cinema.

Focusing on narratives with supernatural components, Karen J. Renner argues that the recent proliferation of stories about evil children demonstrates not a declining faith in the innocence of childhood but a desire to preserve its purity. From novels to music videos, photography to video games, the evil child haunts a range of texts and comes in a variety of forms, including changelings, ferals, and monstrous newborns. In this book, Renner illustrates how each subtype offers a different explanation for the problem of the “evil” child and adapts to changing historical circumstances and ideologies.