Titles of Interest – Devoted to Death: Santa Muerta, the Skeleton Saint

9780199764655_p0_v1_s260x420Devoted to Death: Santa Muerta, the Skelton Saint by R. Andrew Chesnut (Oxford University Press, 2012)

R. Andrew Chesnut offers a fascinating portrayal of Santa Muerte, a skeleton saint whose cult has attracted millions of devotees over the past decade. Although condemned by mainstream churches, this folk saint’s supernatural powers appeal to millions of Latin Americans and immigrants in the U.S. Devotees believe the Bony Lady (as she is affectionately called) to be the fastest and most effective miracle worker, and as such, her statuettes and paraphernalia now outsell those of the Virgin of Guadalupe and Saint Jude, two other giants of Mexican religiosity. In particular, Chesnut shows Santa Muerte has become the patron saint of drug traffickers, playing an important role as protector of peddlers of crystal meth and marijuana; D.E.A. agents and Mexican police often find her altars in the safe houses of drug smugglers. Yet Saint Death plays other important roles: she is a supernatural healer, love doctor, money-maker, lawyer, and angel of death. She has become without doubt one of the most popular and powerful saints on both the Mexican and American religious landscapes.

Interview with Robert Geraci on the “Virtually Sacred”

9780199344697_450Robert Geraci has been interviewed here previously regarding his work in artificial intelligence. With his return below we discuss his new volume Virtually Sacred: Myth and Meaning in World of Warcraft and Second Life (Oxford University Press, 2014).

TheoFantastique: Thanks for your willingness to discuss your new book. How did you come to see video games, www.easyslots.com game and online social worlds as social places that are part of the new spiritual marketplace rather than merely entertainment?

Robert Geraci: Those realizations happened mostly just by taking the online residents seriously. I listened to what they had to say about their own experiences and the nature of their expectations; that led me to realize that what many hoped for from their experiences online. The Second Life (SL) residents told me of their hopes for the future and technology, and that led me to wonder what might else be at play for online residents. Then I attended an academic conference hosted in World of Warcraft (WoW) — which was my introduction to that world — and I started seeing that games like WoW provide different kinds of opportunities than worlds like SL, but that in both cases one crucial element was that both worlds could re-enchant the cosmos, providing opportunities for online residents to experience meaning and transcendence.

TheoFantastique: What kind of analytical framework guided your research?

Robert Geraci: I am a multidisciplinary kind of researcher, but actor-network theory (ANT) in science studies is probably my primary methodological affiliation. Given the strange things I do, however, I don’t know if Bruno Latour, Michael Callon, and that crowd would accept me as one of their own. I engage a kind of anthropology that is rooted in ANT but never strays far from the fundamental categories of religion as explored by Mircea Eliade, J.Z. Smith, and David Chidester. At the same time, this recent work was deeply, deeply influenced by a few authors in game studies: Gary Fine’s pioneering study of pen-and-paper role-playing games, first and foremost, but also William Bainbridge, Bonnie Nardi, Tom Boellstorff and others in the sociological and anthropological study of game communities.

TheoFantastique: How do virtual worlds, especially when combined with fantastic narratives and creative possibilities, lend themselves to spiritual exploration?

Robert Geraci: We are, at our core, religious. By this, I mean that I am comfortable naming our desire to claim the world as meaningful — to see the world as magical and as meaningful — religious. We are driven to find value and meaning in the world and we will persistently engage in that effort. Virtual realities allow almost limitless possibility in such practices. We can tell the stories we want to tell, join the ones we want to hear, and even reshape the landscape according to our needs. If we desire dragons at the limits of our maps, then not only can we draw them in but we can actually visit their domains. We can find, if we want to, various kinds of meanings that we often lack in daily life. The conventional, physical world is rich in opportunity for reflection and it lends itself to many kinds of consideration. Among those, however, has always been that we can invent new ways of thinking and storytelling. We want to enchant the world, which comes to us fundamentally banal, and our stories are crucial in this process. Virtual worlds can provide landscapes for our imaginations to walk through. They are bigger than maps — though I would never understate the magic of cartography — as we can walk, embodied, in the world of our dreams. We can be present in worlds of magic and meaning. It’s hard to overstate how valuable that might be for people.

TheoFantastique: What advantages do they have that traditional, institutional religions lack?

Robert Geraci: They have two key advantages: creative expressiveness and transcendent space-time. on the one hand, if you can dream it, you can probably code it. Virtual worlds are limited only by what we want them to be. That’s a pretty distant frontier! We can build playscapes, meditation gardens, foci for prayer and contemplation, futuristic technofantasties, arenas for heroic deeds, even commercial and consumerist shopping malls….they give us the chance to be the people we want to be…or, by practicing other options, they teach us who we want to be in the conventional world. It’s not just that we can be who we truly want in virtual worlds. Sometimes they are opportunities to think about how we’d like to be someone else when we log off. But I promised to mention time and space also. Ordinarily, we must be in one place in one time. But virtual worlds allow us to occupy many spaces and to perceive the passage of time according to those unique spaces. This means that we can form communities across vast gulfs and (unlike in ordinary website or chat room enabled communications) we can experience those relationships “bodily,” just as we do in traditional, conventional life. That means they can leverage some of our evolutionary heritage in mediating communication. Obviously, they are a far cry from face-to-face interaction, but at least they allow us to move around one another, shake hands, look one another in the eye, etc. As the technology improves, it is probable that we can even map physical expressiveness (such as of a user’s face) onto the avatar in a virtual world, which would then enhance the already meaningful embodiment that users experience in virtual worlds.

WorldofWarcraftRPGTheoFantastique: Why did you choose World of Warcraft and Second Life as case studies?

Robert Geraci: I confess that it was mostly by accident of fate. When I first read about SL, I told my wife and she joined it to see what it was like. Seeing as how I was allegedly interested in religion and technology, I felt obliged to follow her good example! There, I learned much that was relevant to my overall interests in how religion and technology intersect in a variety of ways and so I remained for some years. SL became part of my first book (Apocalyptic AI: Visions of Heaven in Robotics, Artificial Intelligence, and Virtual Reality) thanks to interviews I conducted with people who wished to transfer their minds into virtual reality or who told me that their online personas were meaningfully separate from their conventional personas (separate people, as it were). I joined WoW because of a conference being hosted there by the eminent sociologist William Bainbridge. I just wanted to attend his conference while I was doing work on SL. But as I was present for a few weeks, that became a few months, all engaged in why people wanted to be there and what the game world gave back to them. Ultimately, I remained in both SL and WoW for many years and had an opportunity to see how much those worlds could conceivably give back to the residents.

TheoFantastique: How do these virtual worlds serve as “virtually sacred” and “do religious work” in a secular context?

Robert Geraci: They provide a host of religious and quasi-religious opportunities. In the book, I am interested in the ways in which WoW serves as an “authentic fake” (David Chidester’s term): a secular practice that fulfills genuine religious goals. In WoW, these are associational in that they provide tools for creating meaningful communities and ways of reflecting upon ethical concerns, and they are devotional in that one can have meaningful and even transcendent experiences in the game. Regarding the first, there’s been much work on the community-building aspects of games like WoW, but little that connects this element to other parts of the game that, in concert with one another, provide the virtually sacred experience. It’s not just that gamers build communities. For example, the game challenges them to think ethically (about good and evil, about the economy, about the environment, etc.). Now whether the players take advantage of this to grow as ethical people and citizens remains a separate question…but quite frankly the same is true of traditional religious organizations that attempt to teach moral codes. Furthermore, when you combine these with the fact that people can identify with a heroic version of themselves — one that flies, fights evil, and has superpowers…perhaps that might even one day be an uploaded form of their consciousnesses — then the overall package is profoundly religious even if not all players invest themselves in such a way. Now for SL, i had two separate interests. One was to trace the ways in which certain religious groups shift operation into the world, forming virtual extensions for traditional religions, including the creation of new models for those traditions (e.g. a group that created a Narnian landscape that permitted learning about Christianity while also allowing for Narnian-themed entertainment). In a separate chapter, I engaged transhumanist communities and their participation in SL, both in terms of individuals who desire a transhumanist future of mind uploading, etc. and in terms of the way that the designers and founder of SL also share a transhumanist perspective. Both by providing places for the religiously-minded to form groups, build places of worship, and convene and by providing a transhumanist world (and worldview?), SL is also deeply connected to contemporary religion. I hope that quick summary was coherent!

Second-life-logoTheoFantastique: What is the relationship of these virtual worlds to traditional religious institutions as they navigate the spiritual?

Robert Geraci: I consider them to be both competitors and collaborators. It is certainly possible for traditional religious institutions to use the virtual worlds as ways of forming additional communities, as long as the creators understand that virtual communities are not particularly good at lending concrete support to conventional, physical communities…they have to be allowed to operate according to their own rules. Given that, however, virtual worlds become accessible locations through which religious groups can share their faiths and even respectfully communicate with others. At the same time, when virtual worlds become sites for religious activity as authentic fakes, then they also provide many of the features of traditional religion without requiring that people join those traditional communities. I once saw Tom Waits perform the song “Chocolate Jesus” on the David Letterman show. He said something very close to “this is a song for everyone who has trouble getting up on Sundays.” It’s a brilliant song, by the way, and a fabulous meditation on contemporary spirituality. Well, anyone who can have a community of close friends and confidants, think about what it means to be a good person, find meaning in his or her activity, and acquire increasingly wondrous superpowers in a fantasy landscape…that person might not feel a need to get up early on Sunday.

TheoFantastique: Thanks again for your time and for addressing this important subject.

Robert Geraci: Thanks for having me.

Titles of Interest – Dangerous Games: What the Moral Panic over Role-Playing Games Says about Play, Religion, and Imagined Worlds

9780520284920Dangerous Games: What the Moral Panic over Role-Playing Games Says about Play, Religion, and Imagined Worlds (University of California Press, 2015), by Joseph P. Laycock.

The 1980s saw the peak of a moral panic over fantasy role-playing games such as Dungeons and Dragons. Before you read the rest of this article, you might want to learn which is the best rated betting sites that is best for you in the internet if you love betting games. A coalition of moral entrepreneurs that included the Christian Right, psychologists, and law enforcement claimed these games were not only psychologically dangerous but an occult religion masquerading as a game. Play an online casino with ta theme of this game at www.umbingo.com, a good online casino platform that lets you play wherever you are. Dangerous Games explores both the history and the sociological significance of this panic. Fantasy role-playing games do share several functions in common with religion. However, religion—as a socially constructed world of shared meaning—can also be compared to a fantasy role-playing game. In fact, the claims of the moral entrepreneurs, in which they presented themselves as heroes battling a dark conspiracy, often resembled the very games of imagination that they condemned as evil. By attacking the imagination, they preserved the taken-for-granted status of their own socially-constructed reality. Interpreted in this way, the panic over fantasy-role playing games yields new insights about how humans play and together construct and maintain meaningful worlds. Laycock’s clear and accessible writing ensures Dangerous Games will be required reading for those with an interest in religion, popular culture, and social behavior, in the classroom and beyond.

See a related title from a previous post, Virtually Sacred: Myth and Meaning in World of Warcraft and Second Life by Robert M. Geraci (Oxford University Press, 2014).

Dungeons & Dragons and Ancient Bestiaries

miracles-1050x700Religion Dispatches recently published an interesting article by Robert Geraci that contrasts the The Monster Manual from Dungeons & Dragons with ancient bestiaries and tales of monsters and miracles. The essay is titled “Monstrous Futures: Dungeons & Dragons, Harbinger of the “None” Generation, Turns 40.”

Two quotes of note:

“We wish for an enchanted world, and such a world is by its very nature monstrous. How then, if we hope to see the world reconfigured and made meaningful and transcendent, could we do so without welcoming back the demons and dragons in all their glory? Indeed, our popular culture is rich in zombies, vampires, and even a 50-meter radioactive lizard, all being reimagined, reinterpreted, and pressed into the service of each generation’s dreams.”

The dreams we realize in movies, virtual realities, and videogames are the dreams we have always dreamed; the monsters we find there are the monsters we cherish, for it is their presence that reminds us of what matters. Or, better, it’s their presence that reminds us that we must make the world matter.”

Guest Post – “Re-embracing John Carpenter’s More Obscure Films”

JohnCarpenter2010This post is a guest essay from Brandon Engel.

For the average baby boomer movie-goer, John Carpenter will always be the answer to the the trivia question, “who wrote and directed the horror classic Halloween (1978)?” For film aficionados of any generation, Carpenter will be know as a film artist who crafted some of the finest, if not lesser known, cult classics.

As a director, it’s not difficult to turn a $100M film budget into a $500M box office winner like Steven Spielberg and James Cameron have done many times over. With Halloween, Carpenter demonstrated that he could produce a commercially successful film with a budget less than $400,000 around and a small cast of mostly unknown actors (Donald Pleasence being one exception). Of course, Carpenter’s career has been continually beset by commercial failures, especially in the 1990s. Films like Memoirs of an Invisible Man (1992), and Escape from L.A. (1996) were box-office disasters and perhaps, directorial failures. Despite those high-profile mishaps, Carpenter often displayed brilliance, much of it in lesser known films.

Of his lesser known films, one that stands out is Starman (1984). In this story of alien who comes to earth to learn about humanity, Carpenter favored emotional substance over special effects. It’s a romantic adventure film with textures of science-fiction. Carpenter purposefully did not approach the film as a science-fiction thriller. The alien (Jeff Bridges) crash lands near the home of a widow named Jenny (Karen Allen). After absorbing some of the DNA from a strand of  Jenny’s widowers hair, the alien transforms into a human form that is identical to Jenny’s dead husband. He forces her to take him to the Winslow crater where he can be picked up by the alien mothership. During their road trip, he is able to soothe her pain while she teaches him about human emotion. All the while, government agents are in hot pursuit, eager to capture the alien to chop him up on the slab. The film showcases Carpenter’s versatility and vulnerability, and confirmed his ability to make a mainstream blockbuster, if that’s what he wanted to do. What’s more, it contemporizes politically inspired sci-fi dramas from the cold war like The Day the Earth Stood Still (1951) which portray humans, and not the aliens, as destructive nuisances.

10 years earlier, Dark Star (1974) was Carpenter’s first feature film as a director. He shot the film while still a film student at the University of Southern California with the help of fellow classmate and nerd Dan O’Bannon. The film was shot with an estimated budget of $60,000. The story is a sort of self-deprecating science-fiction film, centered around four astronauts stuck on a spaceship (perhaps for life), trying to pave the way for earth’s expansion into space by strategically obliterating planets. With tongue-in-cheek, Carpenter explored these four personalities, using clever filming tricks that seemed beyond his years of experience. The film feels very much like a parody of Stanley Kubrick’s 2001: A Space Odyssey (HAL spoofed by a red beach ball named “Bomb 20”). That film may have been one of Hollywood’s first plausible looks at futuristic space travel, but Carpenter seemed to believe the film took itself too serious. But like 2001, Dark Star does poise the question: “why are human beings innately inclined to use their creative faculties towards needlessly destructive ends?”

Prince_Of_Darkness_Blu_Cover_6_4_13

It isn’t merely Carpenter’s science-fiction vehicles that get overlooked today, though. He also made a couple of terrific horror films that simply don’t get the praise they deserve. Prince of Darkness (1987) was part of Carpenter’s self-proclaimed “Apocalypse Trilogy” about the forces of evil seeking to destroy the goodness of human nature. A catholic group discovers a cylinder that contains the spirit of Satan. Once opened, those exposed to the contents meet disaster and untimely deaths. As Carpenter explores the occult, the influence of an ex-collaborator, English screenwriter Nigel Kneale (Quatermass and the Pit) becomes embedded in the film. Carpenter’s work on this film was panned by critics who just didn’t seem to get the point.

With In the Mouth of Madness (1994), Carpenter fell victim to budget constraints and the results showed it. The film is a loving tribute to the sinister genius of H.P. Lovecraft, about a popular horror writer who effectively manifests the surreal and nightmarish world of his literature. The film featured harrowing performances from Sam Neil and special effects that evoke eighties-era Clive Barker, but the film failed to catch on.

For all the flack he’s gotten over the years, it seems that Carpenter is still warmly regarded by film fans, and his status as an icon of cult cinema is irrevocable. He was also recently profiled by Robert Rodriguez on El Rey Network, and there’s also talk of a theatrical re-release of the original Halloween. For all his misfires, Carpenter is clever, efficient, creative and willing to take chances. In the end, Carpenter has made his bones as the “master of the horror film.” The reality is that his talents work across any genre because he has technique, vision and an acute understanding of human nature.

Brandon Engel is a Chicago-based blogger with a keen interest in genre pulp literature and vintage cult films. Follow him on Twitter: @BrandonEngel2

Open Graves, Open Minds update

81Ka5W+Ry-LPreviously TheoFantastique has noted the conference and publishing work of Open Graves, Open Minds. This post shares a recent update received on their work, including a book and conference.

OPEN GRAVES, OPEN MINDS relates the Undead in literature and other media to questions concerning genre, technology, consumption and social change. It features original research by leading scholars (Dr Sam George is a frequent commentator on the contemporary vampire; Dr Catherine Spooner, a pioneer of the study of Contemporary Gothic; and Dr Stacey Abbott is the author of the seminal work on the vampire in film and TV). The essays cover texts both familiar and unexpected, bringing debates around fictional vampires into the twenty-first century where they are currently enjoying a vogue.

This wide-ranging collection forms a coherent narrative which follows Enlightenment studies of the vampire’s origins in folklore and folk panics, tracing sources of vampire fiction, through Romantic incarnations in Byron and Polidori to Le Fanu’s Carmilla. Further essays discuss the undead in the context of Dracula, fin-de-siècle decadence and Nazi Germany together with early cinematic treatments. The rise of the sympathetic vampire is charted from Coppola’s Dracula, to Buffy the Vampire Slayer and Twilight. More recent manifestations in novels, TV, Goth  subculture, young adult fiction and cinema are dealt with in discussions of True Blood, The Vampire Diaries and much more. The book is essential reading for those who wish to explore open graves with an open mind: scholars of literature and film, enthusiasts of all things vampiric and writers of Undead fiction. The Transylvanian notebooks of the award-winning novelist Marcus Sedgwick conclude the study, shedding light on recent trends in young adult fiction. Sedgwick lays bare the writing process for budding novelists and creative writers in the genre.

The book which emerged from the project can be purchased from Manchester University Press: Open Graves, Open Minds: Representations of Vampires and the Undead from the Enlightenment to the Present Day. OGOM also produced a special issue of Gothic Studies on vampires.

Finally, following the vampire conference and Stoker centenary symposium, OGOM is reconvening in the autumn of 2015 for a werewolf inspired conference, Company of Wolves: Sociality, Animality and Subjectivity in Literary and Cultural Narratives- Werewolves, Shapeshifters and Feral Humans. Full details and call for papers to follow shortly. There is also have a new blog at http://opengravesopenminds.wordpress.com/.

Call for Submissions – “Paranormal Pop: Religion, Pop Culture, and the Supernatural”

dXhFK5T_Call for Submissions

ROTHCO Press is accepting proposals for essays for an edited volume tentatively titled Paranormal Pop: Religion, Pop Culture, and the Supernatural, to be published in Summer 2015. 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.

Proposals should describe briefly (250 words or less) the intended content and argument of the essay, which in its final format should run between 20 to 25 pages (5,000 to 6,250 words).  In addition to the proposal please include a short biographical statement as well as contact information. Please see Submission Guidelines below.

ROTHCO Press is a boutique press specializing in a wide range of genres including: nonfiction, fiction, biography, pop culture, pets, adventure/travel, supernatural, horror, mystery, true crime, cookbooks, academic books and more. Located in Hollywood, California, the publisher is an affiliate of Co-Conspiracy Entertainment, a film and television production company.

Submission Guidelines

SUBMISSION DEADLINE:  October 31, 2014.

The guidelines below are for informational purposes only.

As outlined above ROTHCO Press is accepting proposals for essays for its Religion, Pop Culture and the Supernatural project. If your proposal is chosen, we will contact you. Rule Number One is to provide us with a number you can be reached at during business hours along with a working email address.

Submissions may only be made by the author of the work or someone with legal standing to make the submission on the author’s behalf. If you are neither, please do not contact us.

General Guidelines

  • We accept email submissions. Unless your submission is in digital form we will not be able to review it.
  • Submissions must be in PDF format. We will not open other documents.
  • It may take up to 90 days to adequately review your proposal. Contacting us about its status will only slow down the process.

What to Include in Your Proposal:

  • Include a brief description, a PDF of your proposal, a short author biography, a working email that you check regularly and a phone number where you can be reached during business hours.
  • If your proposal is a simultaneous submission, please indicate this in your email to us.

Where to Send Your Proposal:

Please send submissions to: ParanormalPop@ROTHCOpress.com

EDITORS: Darryl Caterine is a professor of Religious Studies at Le Moyne College in Syracuse, New York. His research interests focus on supernaturalism in popular culture, both in the United States and parts of Latin America. His book Haunted Ground: Journeys through a Paranormal America (Praeger, 2011) is an ethnographic travelogue of various paranormal gatherings in the U.S., focused on Spiritualism, ufology, and dowsing. He has contributed articles on popular supernaturalism to Nova Religio, the Journal of the American Academy of Religion, and Paranthropology.

John W. Morehead is a researcher, writer, and editor on horror, science fiction, fantasy, the paranormal, and other aspects of the fantastic in pop culture. He writes for his blog TheoFantastique.com and Cinefantastique Online, is the co-editor and contributor to The Undead and Theology (Wipf & Stock, 2012), co-editor of Joss Whedon and Religion (McFarland, 2013), and he sits on the editorial board for GOLEM: The Journal of Religion and Monsters.

Automata

The trailer for Automata looks intriguing. Hopefully it will be a thoughtful expression of science fiction.

In a future where Earth’s ecosystem verges on collapse, man-made robots roam the cities to protect dwindling human life. When a robot overrides a key protocol put in place to protect human life, ROC Robotics insurance agent Jacq Vaucan is assigned to locate the source of the manipulation and eliminate the threat. What he discovers leads Vaucan, ROC Robotics and the police into a battle with profound consequences for the future of humanity.

In Memory of Bela Lugosi

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A nice looking colorized photo from Dracula, and a video tribute in memory of Bela Lugosi who passed away August 16, 1956.

Conference on ‘Folk Horror’ at Queen’s University in Belfast

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A Friend in the Furrows: Perspectives on ‘Folk Horror’ in Literature, Film and Music
19-21 September, 2014
Queen’s University Belfast

‘A Fiend in the Furrows’ is a three-day conference in association with the School of English and the Institute for Collaborative Research in the Humanities at Queen’s University Belfast, exploring ‘folk horror’ in British and Irish literature, film, television, and music. The event will include academic papers, film screenings, musical performances, and readings.

Through the writing of Nigel Kneale and Alan Garner, among others, the tradition has influenced British and Irish horror cinema and television, being revived and reimagined in films such as Quatermass and the Pit (1967), The Devil Rides Out (1968), Witchfinder General (1968), Blood on Satan’s Claw (1971), The Wicker Man (1973), and more recently in Wake Wood (2010) and Ben Wheatley’s Kill List (2011) and A Field in England (2013). The conference will examine ‘folk horror’ texts, films and music in their period context and the implications for British and Irish culture’s understanding of their own unsettled pasts.

It will feature papers examining topics such as:

  • Late 19th century Gothic literature
  • Early 20th century weird fiction
  • Modernism and weird fiction
  • The ghost story
  • Contemporary horror and fantasy fiction
  • Children’s literature
  • Folklore collectors and redactors
  • Folklore and the supernatural
  • Primitivism, atavism, degeneration
  • Rural and urban folklore
  • Horror cinema and television
  • Folkmusic

More on the conference here.

My thanks to Heather Greene for letting me know about this conference.

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