Social Research: An International Quarterly and Horror in Society

sor.81.4_front_smKevin Wetmore, who I have interviewed on this blog previously on his book Post-9/11 Horror in American Cinema, let me know that the forthcoming issue of Social Research: An International Quarterly 84.1 (Winter 2014) has an interesting focus. It will explore horror in society.

 

Here is the Table of Contents:

Endangered Scholars Worldwide
pp. v-xix
Ebby Sharifi

Editor’s Introduction
pp. xxi-xxii
Arien Mack

Horrors and Horror: The Response of Tragedy
pp. 739-767
David Tracy

Christian Demonology in Contemporary American Popular Culture
pp. 769-793
Armando Maggi

The Liberalism of Horror

pp. 795-823
Elisabeth Anker

Metaphor of the Living Dead: Or, the Effect of the Zombie Apocalypse on Public Policy Discourse

pp. 825-849
Daniel W. Drezner

When the Vampires Come for You: A True Story of Ordinary Horror
pp. 851-882
Adam Ashforth

Colonial Possessions: A Fanonian Reading of The Exorcist and its Sequels
pp. 883-896
Kevin J. Wetmore Jr.

Better Horrors: From Terror to Communion in Whitley Strieber’s Communion (1987)

pp. 897-920
Jeffrey J. Kripal

The Horrors of Witchcraft and Demonic Possession
pp. 921-939
Brian P. Levack

Monsters on the Brain: An Evolutionary Epistemology of Horror
pp. 941-968
Stephen T. Asma

Forthcoming Title of Interest – Such a Dark Thing: Theology of the Vampire Narrative in Popular Culture

RESOURCE_Template I’m privileged to promote a forthcoming book, Such a Dark Thing: Theology of the Vampire Narrative in Popular Culture (Resource Publications, 2015) by M. Jess Peacock. Look for an interview with Peacock here in the near future. Here is the back cover description and endorsements:

Evil, death, demons, reanimation, and resurrection. While such topics are often reserved for the darker mindscapes of the vampire subgenre within popular culture, they are equally integral elements of religious history and belief. Despite the cultural shift of presenting vampires in a secular light, the traditional figure of the vampire within cinema and literature has a rich legacy of serving as a theological marker. Whether as a symbol of the allure of sin, as an apologetic for assorted religious icons, or as a gateway into a discussion of liberationist theology, the vampire has served as a spiritual touchstone from Bram Stoker’s Dracula, to Stephen King’s Salem’s Lot, to the HBO television series True Blood.

In Such a Dark Thing, Jess Peacock examines how the figure of the vampire is able to traverse and interconnect theology and academia within the larger popular culture in a compelling and engaging manner. The vampire straddles the ineffable chasm between life and death and speaks to the transcendent in all of us, tapping into our fundamental curiosity of what, if anything, exists beyond the mortal coil, giving us a glimpse into the interminable while maintaining a cultural currency that is never dead and buried.

“Eminently readable, exhaustively researched, and always thoughtful. Well worth reading for any scholar, student, or fan of the genre.”
– David Wellington, author of Positive and 13 Bullets

“Jess Peacock knows his theology and his vampires, making him a perfect guide to the dark places he wants to take us. Such A Dark Thing successfully explores how our fascination with the hungry undead not only connects with religious themes, but also sex, politics, and even social justice.”
– Scott Poole, author of Monsters in America: Our Historical Obsession with the Hideous and the Haunting

“Equal parts fan-boy adulation and academic analysis, this delightful book expresses such joy and enthusiasm in either mode: in both, the author shows what it is to be passionately engaged and intellectually stimulated by the subject. The section on liberation theology and social change also takes the vampire narrative into new areas of interpretation and application that I found especially exciting and invigorating. Those who identify as either fan or critic (or both) will find here fresh insight into and inspiration from their favorite monster—a sort of bracing antidote to Twilight!”
– Kim Paffenroth, author of Gospel of the Living Dead: George Romero’s Visions of Hell on Earth

My forthcoming book – The Supernatural Cinema of Guillermo del Toro: Critical Essays

978-0-7864-9595-5I haven’t seen the proofs yet, but my latest book has an official title, a cover photo, and is included in the forthcoming Spring catalog for McFarland.

The Supernatural Cinema of Guillermo del Toro
Critical Essays

Edited by John W. Morehead
Foreword by Doug Jones

Print ISBN: 978-0-7864-9595-5
Ebook ISBN: 978-1-4766-2075-6
photos, notes, bibliography, index
softcover (6 x 9) 2015

 

About the Book
Guillermo del Toro is one of the most prolific artists working in film. His directorial work includes Cronos (1993), Mimic (1997), The Devil’s Backbone (2001), Blade II (2002), Hellboy (2004), Pan’s Labyrinth (2006), Hellboy II (2008) and Pacific Rim (2013). He has also worked extensively as a producer, with several screenwriting credits to his name. As a novelist he coauthored The Strain Trilogy (2009–2011), which he also developed into a television series for FX in 2014. Del Toro has spoken of the “primal, spiritual function” of his art, which gives expression to his fascination with monsters, myth, archetype, metaphor, Jungian psychology, the paranormal and religion.

This collection of new essays discusses cultural, religious and literary influences on del Toro’s work and explores key themes of his films, including the child’s experience of humanity through encounters with the monstrous.

The book link: http://www.mcfarlandbooks.com/book-2.php?id=978-0-7864-9595-5

And the catalog: http://www.mcfarlandbooks.com/catalogs/

Call for submissions: “The Paranormal and Popular Culture”

We are currently accepting proposals for essays for an edited volume entitled “The Paranormal and Popular Culture.” Academic writers and independent scholars are invited to submit proposals spanning the wide range of topics on pop culture and the paranormal, and their connection to religion, including reflections on the full panoply of extraordinary beings (e.g. vampires, zombies, demons, ghosts, mutants, cyborgs, cryptoids, etc.) and extraordinary phenomena (e.g. psychic abilities, channeling, spontaneous combustion, magic, necromancy, etc.), as well as theoretical and/or historical reflections on supernaturalism, pop culture, and theology.

Those interested in being considered as contributors should send an abstract to the co-editors, Darryl Caterine (cateridv@lemoyne.edu) and John Morehead (johnwmorehead@msn.com) by June 1. Our timeline is as follows: write up a proposal this summer and pitch it to various publishers. Assuming we receive a timely and positive response from one or more of them, the tentative deadline for the essays would be the summer of 2016.

Rod Taylor passes away

Yesterday, Rod Taylor passed away. Fans of the fantastic will remember his fine performances in The Twilight Zone, The Time Machine, and The Birds. Taylor died of a heart attack in his Southern California home. He was 84.

The Babadook

The Babadook has received a lot of praise since its appearance at Sundance in 2014.It comes out of Australia through director Jennifer Kent who also wrote the story. Appreciation for this film has gone so far as to laud this as the best horror film of the decade, and one that might help improve the quality of American horror cinema. The film is especially interesting and creepy in that the horror comes forma children’s book and has connections to dark fairytales.

Marina Warner discusses “How Fairytales grew up”

onceUponTime.jpgOver at TheGuardian.com Marina Warner has an interesting essay titled “How fairytales grew up.” An excerpt:

Fairytales are enjoying a huge rise in popularity and influence in symbiosis with the internet. The traditional functions of the bard and the griot in predominantly oral cultures included “keeping the memory of the tribe”, as Derek Walcott remarked in his Nobel speech, and the enchantments of technology have placed the power to do this in our hands. The entertainment industry increasingly harvests the common store of fairytale to develop one vastly expensive vehicle after another to reach the global market. Some are disastrous (Hansel & Gretel: Witch Hunters), but at the same time, this new ocean of story provides film-makers and website builders of slender means with magnificent new opportunities.

Like a mother tongue, the stories are acquired, early, to become part of our mental furniture (think of the first books you absorbed as a child). The shared language is pictorial as well as verbal, and international, too. Such language – Jung called it archetypal – has been growing into a common vernacular since the romances of classical antiquity and the middle ages – Circe from the Odyssey and Vivienne from Morte d’Arthur are recognisable forerunners of fairy queens and witches, and the sleeping beauty herself first appears in a long medieval chivalric tale, Perceforest. A fairytale doesn’t exist in a fixed form; it’s something like a tune that can migrate from a symphony to a penny whistle.

Read the entire essay here.

Interview with R. Andrew Chesnut on Santa Muerte, the Saint of Death

51OFhFTMwQL._SY344_BO1,204,203,200_R. Andrew Chesnut is Professor of Religious Studies, Virginia Commonwealth University. He is the author of Devoted to Death: Santa Muerte, the Skeleton Saint (Oxford University Press, 2012), the first academic study of this topic in in English. He is currently working on the sequel. Chesnut discusses Santa Muerte in the interview below.

TheoFantastique: Thank you for coming here to discuss your research in this interesting topic. How did you come to develop a research interest in Santa Muerte?

Andrew Chesnut: I’m a specialist in the religions of Latin America and was working on my third book project, a study of the Virgin of Guadalupe, when in March, 2009 I saw that Mexican president Felipe Calderon sent the the army to demolish some forty Santa Muerte shrines on the border with Texas and California. I already knew of the Bony Lady from previous research and thirty years of living and traveling in Mexico but was intrigued that she had become spiritual enemy number one in the Mexican government’s war against the drug cartels.

TheoFantastique: What are the cultural and religious origins and influences in Santa Muerte?

Andrew Chesnut: She is a syncretic Mexican folk saint who integrates both Spanish Catholic and PreColumbian religious influences. The Spanish Church brought the figure of the Grim Reapress (la Parca) here to the Americas as a representation of death in their evangelzation efforts among the Indigenous. Many of the Indigenous religions had deities of death as part of their pantheon of gods. Thus it’s most likely the case that when Indigenous groups in Mexico, Guatemala, Paraguay, and Argentina were presented with the figure of the Grim Reapress they associated her with their own deities of death, such as the Aztec goddess of the Underworld, Mictecacihuatl. Santa Muerte is first mentioned in Mexico in the 1790s, in the annals of the Spanish Inquisition, when Inquisitors are sent out to investigate reports of “Indian idolatry” and discover different groups venerating a skeletal icon they called Santa Muerte. The Inquisitors, of course, destroyed the “heretical” image and shrine. Since Mexican nationalism exalts the Indigenous past and tends to denigrate Spanish heritage, many Mexican devotees who have reflected on her identity choose to view Saint Death as totally Indigenous, mostly Aztec and Mayan. During the past two years I’ve been seeing more representations of the White Girl (another popular nickname) in Aztec form, though she often looks more like an Apache from a Hollywood Western.

TheoFantastique: Santa Muerte has many different types of devoted followers and is perhaps best known for a connection to drug cartels and violence in Mexico. But she is not limited to this even though this has become something of a stereotypical association perhaps. What types of differing associations and devotees are connected to Santa Muerte?

santa-muerte-statue-white-capeAndrew Chesnut: She has followers from across the social stratum in both Mexico and the US, but has a special appeal to those who feel death might be imminent, such as narcos, sex workers, and others who work in the streets. Paradoxically, these devotee ask the Bony Lady for a few more grains of sand in her hourglass of life. In addition, she has a strong following of LGBT devotees on both sides of the border. The devotional pioneer in New York City, Arely Vazquez, is a Mexican transgender while Steven Bragg, founder of the first shrine in New Orleans is gay. Saint Death has a reputation for being non-judgmental, so many folks who felt discriminated against or uncomfortable in Christian churches feel the embrace of a motherly-figure who loves you know matter who you are or what you’ve done. But her appeal is far wider than these two groups due to her reputation as a multitasking miracle-worker.

TheoFantastique: What are your thoughts on why Santa Muerte has such wide and increasing appeal?

Andrew Chesnut: Most importantly she has developed a reputation as the fastest and most efficacious miracle-worker on the Mexican religious landscape. I don’t know how many stories I’ve heard about how devotees has been praying to another saint, such as St. Jude, for months with no results, and then a friend recommended they petition the White Girl and within days they received what they asked for, such as a job, removal of a rival from their path or healing of an illness. Moreover, her role of supernatural proctectress is of paramount importance in a Mexico plagued by hyper narco-violence in which at least 80,000 have died since 2006.

TheoFantastique: You have referred to the cult of Santa Muerte as the fastest growing new religious movement in the Americas. How did you come to this conclusion, and how might it compare to other new religions?

Andrew Chesnut: Through surveys of shops that sell religious article and interview with leaders. However, the figure of 10-12 million devotees in Mexico, the U.S., and Central America is a guesstimate in lieu of any hard figures based systematic surveys.

TheoFantastique: You recently attended an international conference of scholars in the Netherlands that brought together diverse perspectives on Santa Muerte. You have shared some of your thoughts on this on your blog, but can you mention a few summary observations?

SantaMuerte_DC_5058Andrew Chesnut: Many of my colleagues at the Dutch conference haven’t conducted field research, and in lieu of that attempted to link the proliferation of devotion to St. Death to larger macro forces, such as the drug war and failing Mexican state. I object to such analyses because they divorce the skeleton saint from her religious context and present her as mere epiphenomenon of political and economic forces. No doubt that the insecurity prevailing in Mexico provides fertile ground for her devotion to flourish, but by no means is it the cause of her growth. In both my book, Devoted to Death, and ongoing research I have attempted to demonstrate the multifaceted identity of this Mexican folk saint. Yes, one of her roles is that of narco-saint, but she’s also a powerful love sorceress and curandera (healer) among other things.

TheoFantastique: Dr. Chesnut, thank you for your time and thoughts on this interesting phenomenon.

Reflections on an Academic Conference on the Saint and ‘Cult of Death’

smhollandposterSanta Muerte, the Saint of Death, and the international following she has is an area of interest here at TheoFantastique. R. Andrew Chesnut, author of Devoted to Death: Santa Muerte, the Skeleton Saint (Oxford University Press, 2012), recently posted on his blog regarding his thoughts on an international conference in the Netherlands that brought scholars together to discuss differing perspectives on this phenomenon. Here’s an excerpt:

Despite the fact that over 90% of Santa Muerte devotees live in Mexico and the U.S., the first ever academic conference dedicated exclusively to the skeleton saint was held in Europe, at the University of Groningen, in the Netherlands, on 11/21/14. Europeans have taken a particular interest in the growth of devotion to Saint Death partly because of the historical link to their own Grim Reaper or Reapress (la Parca) in the case of Spain.  Reflecting the increasing  globalization of the Americas’ fastest growing new religious movement,  the scholars presenting on Santa Muerte hailed from many different countries, including Mexico, the U.S., Germany, Denmark, Spain and the UK.

To read more about the conference and Chesnut’s observations click here. Chesnut will be interviewed here about Santa Muerte in the near future.

TFQ Podcast 5.1 – Interview with Doug Jones on “Nosferatu”


Doug Jones is interviewed by John Morehead of TheoFantastique.com. Doug discusses David Lee Fisher’s Nosferatu remix of the classic silent horror film and his long interest in playing Count Orlok. Through the interview you will get a sense of Doug’s passion, and learn how you can get involved in the crowd funding project to help make this film a reality.

Learn more at the Kickstarter campaign page for “Nosferatu” at https://www.kickstarter.com/projects/82215933/nosferatu-the-feature-film-remix.

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