manycinemas 03: Dread, Ghost, Specter, and Possession

manycinemas 03 titleWe hope you will enjoye these spooky moments. And we apologize, again, for our late delivery. The next issue will be published in May 2013 with NO – LOVE as topic!

We wish you all the best!

the editors: Michael Christopher &  Helen Christopher

Magical thrilling spooky moments in cinema

An Introduction

by Helen Staufer & Michael Christopher


The introducing article on the topic by the editors.

Left Behind

Child Ghosts, The Dreaded Past, and Reconciliation in Rinne, Dek Hor, and El Orfanato

by Brenda S. Gardenour

tl_files/manycinemas/theme/issues/issue_03/Bilder/Gardenour1.jpgLeft behind examines cryptomnesia, sorrowful nostalgia, the advocacy of the living for the dead, the weight of the past, and the fulfillment of the present in three films from developing horror traditions. At the center of each of these films rests the plight of displaced, orphaned, and institutionalized children and their encounters with child-ghosts, reminders of a tragic past that has been forgotten...

No Dread for Disasters

Aftershock and the Plasticity of Chinese Life

by Cen Cheng

tl_files/manycinemas/theme/issues/issue_03/Bilder/aftershock1.pngAftershock is one of the few Chinese disaster films ever created. Based on the historic catastrophic earthquake in Tangshan, China in 1976, the film tells the story of one daughter who is considered dead and the two families that she does/does not belong to. The article investigates the construction of dread and the making of truth for the disaster victims, which sheds light on a great feature of Chinese life – its plasticity.

When the Shit Starts Flying

Literary ghosts in Michael Raeburn's film Triomf

by Swantje Buddensiek

tl_files/manycinemas/theme/issues/issue_03/Bilder/buddensiek1.jpgMarlene Van Niekerk's novel Triomf tells the story of a Boer family living in decline. The Benades appear to be haunted by their family history as well as, more subtly, by the guilt-laden past of their district in Johannesburg. Uncanny disturbances occur in their living situation and in the unstable ground of the narrated space - even graves do not keep in their place.

Blood Money, Big Men and Zombies

Understanding Africa’s Occult Narratives in the Context of Neoliberal Capitalism

by Carmela Garritano 

tl_files/manycinemas/theme/issues/issue_03/Bilder/oxford_street_accra_2009.jpgThis paper analyzes occult movies produced in the burgeoning commercial movie industries in Nigeria (Nollywood) and Ghana. Fusing conventions of Hollywood horror films and West African witchcraft discourses, these cultural forms visualize the transformation of human life into surplus value and in this, present a critique of neo-liberal rationalities and global capitalism.

Beyond the Screen

Hauntology Beyond the Cinema

Hauntology Beyond the Cinema: The Technological Uncanny

by Carrie Clanton

tl_files/manycinemas/theme/issues/issue_03/Bilder/lakeien.jpegCinema is an intrinsically ghostly medium, its narratives conjuring other times and places. But all media may be said to be “hauntological” in nature, entailing chronological and spatial disruptions that technologically produce a sense of the uncanny. Beyond the séance-room of the cinema, other hauntological representations such as dub and electronic music constitute politically and culturally deconstructive media projects.

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