I’ve read and watched a lot on World War II over the years, since I was a child actually, watching films with my dad growing up. World War I is another story. I’ve only recently have I taken a closer look at the Great War in more depth. In addition to recommending a viewing of 1917, there are some resources I’d like to recommend that explore World War I in connection with horror and the supernatural. These include:
A Supernatural War: Magic, Divination, and Faith during the First World War
by Owen Davies
It was a commonly expressed view during the First World War that the conflict had seen a major revival of “superstitious” beliefs and practices.
Churches expressed concerns about the wearing of talismans and amulets, the international press paid considerable interest to the pronouncements of astrologers and prophets, and the authorities in several countries periodically clamped down on fortune tellers and mediums due to concerns over their effect on public morale. Out on the battlefields, soldiers of all nations sought to protect themselves through magical and religious rituals, and, on the home front, people sought out psychics and occult practitioners for news of the fate of their distant loved ones or communication with their spirits. Even away from concerns about the war, suspected witches continued to be abused and people continued to resort to magic and magical practitioners for personal protection, love, and success.
Uncovering and examining beliefs, practices, and contemporary opinions regarding the role of the supernatural in the war years, Owen Davies explores the broader issues regarding early twentieth-century society in the West, the psychology of the supernatural during wartime, and the extent to which the war cast a spotlight on the widespread continuation of popular belief in magic. A Supernatural War reveals the surprising stories of extraordinary people in a world caught up with the promise of occult powers.
Shell Shock Cinema: Weimar Culture and the Wounds of War
by Anton Kaes
Shell Shock Cinema explores how the classical German cinema of the Weimar Republic was haunted by the horrors of World War I and the the devastating effects of the nation’s defeat. In this exciting new book, Anton Kaes argues that masterworks such as The Cabinet of Dr. Caligari, Nosferatu, The Nibelungen, and Metropolis, even though they do not depict battle scenes or soldiers in combat, engaged the war and registered its tragic aftermath. These films reveal a wounded nation in post-traumatic shock, reeling from a devastating defeat that it never officially acknowledged, let alone accepted.
Kaes uses the term “shell shock”–coined during World War I to describe soldiers suffering from nervous breakdowns–as a metaphor for the psychological wounds that found expression in Weimar cinema. Directors like Robert Wiene, F. W. Murnau, and Fritz Lang portrayed paranoia, panic, and fear of invasion in films peopled with serial killers, mad scientists, and troubled young men. Combining original close textual analysis with extensive archival research, Kaes shows how this post-traumatic cinema of shell shock transformed extreme psychological states into visual expression; how it pushed the limits of cinematic representation with its fragmented story lines, distorted perspectives, and stark lighting; and how it helped create a modernist film language that anticipated film noir and remains incredibly influential today.
A compelling contribution to the cultural history of trauma, Shell Shock Cinema exposes how German film gave expression to the loss and acute grief that lay behind Weimar’s sleek façade.
Then there’s a volume by my friend and colleague who has been interviewed a few times here at TheoFantastique on the following volume and more:
Wasteland: The Great War and the Origins of Modern Horror
by W. Scott Poole
Historian and Bram Stoker Award Nominee W. Scott Poole traces the confluence of military history, technology, and art that gave us modern horror films and literature.
From Nosferatu to Frankenstein’s monster, from Fritz Lang to James Whale, the touchstones of horror can all trace their roots to the bloodshed of the First World War. Bram Stoker Award nominee W. Scott Poole traces the confluence of military history, technology, and art in the wake of World War I to show how overwhelming carnage gave birth to a wholly new art form: modern horror films and literature.
A couple of items have appeared over the last week or two that are worth noting in regards to horror and psychology. The first is 
The current edition of 
I learned about this volume from the 
