Bibliografie tematiche / Poltergeist films

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Letteratura scientifica selezionata sul tema "Poltergeist films"

Autore: Grafiati
Pubblicato: 29 luglio 2024
Ultima modifica: 31 luglio 2024

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Articoli di riviste sul tema "Poltergeist films"

1

Lilek, Brooke. "Horrors of Society". Digital Literature Review 7 (23 aprile 2020). http://dx.doi.org/10.33043/dlr.7.0.125-135.

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Abstract (sommario):
The foundation of the Hollywood horror film industry has always been constructed with metaphors of what haunts American society. By utilizing what society fears in daily life and representing it with ghosts or monsters, Hollywood was able to make movies scarier than they appeared to be on the surface. In the 1970s and 1980s, children’s television programming began to take the place of reading or playing as the number of shows and channel rose. Parents began to fear that television programming would take over their children’s lives. Moving through the decades and into the 2010s this fear only grew as cellphones, tablets, and laptops became the obsession of American youth. The Hollywood film industry capitalized on these fears in movies such as Poltergeist (1982) and Poltergeist (2015). These two films worked to represent current issues in society while also predicting what America would become if these issues were not properly dealt with. 1980s America did not resolve the issue of television and technology invading homes; thus, the problem grew as Americans relied more heavily on technological advances. Looking through the lens of Poltergeist (1982) and Poltergeist (2015) reveals the fears of past decades, how those fears have developed in 2010s American culture, and where these representations of cultural fears will lead us next.
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Libri sul tema "Poltergeist films"

1

Tadolini, Federico. Presenze demoniache: Guida alla saga di Poltergeist. Roma: EUS, 2016.

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2

D, McSherry Frank, Waugh Charles e Greenberg Martin Harry, a cura di. Hollywood ghosts: Haunting, spine-chilling stories from America's film capital. Nashville, Tenn: Rutledge Hill Press, 1991.

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3

Blackson's Redemption: The Poltergeist Files - Book III. Independently Published, 2020.

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4

Livingston, Easton. Blackson's Revenge: The Poltergeist Files -Book I. Independently published, 2018.

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5

Livingston, Easton. Blackson's Repentance: The Poltergeist Files - Book II. Independently Published, 2019.

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6

Pulliam, June Michele, e Anthony J. Fonseca, a cura di. Ghosts in Popular Culture and Legend. ABC-CLIO, LLC, 2016. http://dx.doi.org/10.5040/9798400657023.

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Abstract (sommario):
With entries that range from specific works to authors, folklore, and popular culture (including music, film, television, urban legend, and gaming), this book provides a single-volume resource on all things ghostly in the United States and in other countries. The concept of ghosts has been an ongoing and universal element in human culture as far back as recorded history can document. In more modern popular culture and entertainment, ghosts are a popular mainstay—from A Christmas Carol and Casper the Friendly Ghost to The Amityville Horror, Ghostbusters, Poltergeist, The Sixth Sense, and Ghost Whisperer. This book comprehensively examines ghost and spirit phenomena in all its incarnations to provide readers with a holistic perspective on the subject. It presents insightful information about the contribution of a specific work or author to establish or further the evolution of ghost lore, rather than concentrating solely on the film, literature, music, or folklore itself. The book focuses on ghosts in western culture but also provides information about spirit phenomena and lore in international settings, as many of the trends in popular culture dealing with ghosts and spirits are informed by authors and filmmakers from Germany, Japan, Korea, and the United Kingdom. The writers and editors are experts and scholars in the field and enthusiastic fans of ghost lore, ghost films, ghost hunting, and urban legends, resulting in entries that are informative and engaging—and make this the most complete and current resource on ghost and spirit lore available.
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Cardin, Matt, a cura di. Ghosts, Spirits, and Psychics. ABC-CLIO, LLC, 2015. http://dx.doi.org/10.5040/9798400657054.

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Abstract (sommario):
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.
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8

Waugh, Charles G., e Frank D. McSherry. Hollywood Ghosts: Haunting, Spine-Chilling Stories from America's Film Capital (American Ghost Series). Rutledge Hill Pr, 1991.

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Capitoli di libri sul tema "Poltergeist films"

1

Hooper, Tobe. "Poltergeist". In 100 American Horror Films. The British Film Institute, 2022. http://dx.doi.org/10.5040/9781839021428.0082.

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2

McLaughlin, Robert. "They’re here". In Poltergeist, 5–18. Liverpool University Press, 2023. http://dx.doi.org/10.3828/liverpool/9781800856974.003.0001.

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Abstract (sommario):
Poltergeist by MGM focused on Spielberg name and reputation. While Spielberg is credited as the producer of the film, he is also credited for the film’s initial story and screenplay. it is the renowned grindhouse auteur Tobe Hooper. Described as a ‘family’ horror movie throughout its production schedule and marketed as such via the film’s PR, press the promotional material Poltergeist as previously notes focused heavily on Spielberg’s involvement in the film. With these continual contravening presentations of the film via press, publicity, and marketing as well as the potentially deliberate removal of Hooper end credit directorial acknowledgement it is no wonder that people mistakenly still assume that (even after four decades) that Poltergeist is a Steven Spielberg ‘directed’ film rather than a Tobe Hooper directed production.
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3

McLaughlin, Robert. "Tricksters and fairy tales". In Poltergeist, 33–56. Liverpool University Press, 2023. http://dx.doi.org/10.3828/liverpool/9781800856974.003.0003.

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Abstract (sommario):
Poltergeist, for all its social and political commentary on modern living, sunshine and suburbia, is still very much reliant on the need to scare (it is a horror film after all) and framing the film within the context of the lack of American ‘mythology’ must rely more traditional folklore motifs and fairy tale storytelling traditions to underpin its modern narrative setting. The plot takes and utilises direct influences from other more mature cultures delving into a shared public domain of myths, lore, and traditions to instil and present the film’s universal motifs of primal motifs of fears.
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4

Hallam, Lindsay. "‘Since I was Twelve’: Fire Walk With Me as a Trauma Film". In Twin Peaks: Fire Walk with Me, 75–84. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9781911325642.003.0004.

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Abstract (sommario):
This chapter analyses the first scene of David Lynch's Twin Peaks: Fire Walk With Me that gives insight into the dynamic within the Palmer household. It cites the scene of the evening that Laura realises Bob's true identity, which provides a clear view of the dysfunctional situation in the Palmer home. It also discusses the home as a site of horror that is a common genre trope, with the breakdown of the family unit at the centre of many horror films, such as Rosemary's Baby, Halloween, and Poltergeist. The chapter talks about how Fire Walk With Me presents an inversion of the Oedipal trajectory and exposes unconscious desires which Freud theorised as driving stages of sexual development. It mentions how Fire Walk With Me provide a narrative of family violence and trauma, following Laura as she tries to navigate her way and work through the ongoing abuse that she endures.
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5

McLaughlin, Robert. "Cultural resonance and conclusions". In Poltergeist, 99–110. Liverpool University Press, 2023. http://dx.doi.org/10.3828/liverpool/9781800856974.003.0007.

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Abstract (sommario):
It is doubtful audiences will ever receive a true and accurate account of the allocation of works on-set of the film from a day-to-day basis, or even if one vision of the film supersedes the other. And while critics and academics still debate the creative process and nature of the partnership between Spielberg and Hooper, Poltergeist as a narrative piece works best when both creative forces come into synchronicity.
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McLaughlin, Robert. "Television and trauma". In Poltergeist, 71–84. Liverpool University Press, 2023. http://dx.doi.org/10.3828/liverpool/9781800856974.003.0005.

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Abstract (sommario):
With Poltergeist Hooper and Spielberg purposely set out to extenuate ‘the age of television’, as screens are always present and on within the film – be that when the children are at breakfast, having friends around to watch the football or for the family too fall asleep in-front of. The ability to stop or avoid the presence of the ‘Invasive Other’ of the television into the living environment is shown to no longer be possible.
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