Descriptions of monsters, vampires, demonic possessions, and psychopaths in horror films have been inspired by psychiatric knowledge about mental illness, leading to several stereotyped models of horror that have prevailed through decades. Some scholars have proposed that horror films can be a teaching tool for psychopathology, but for the most part the genre has been underutilized as a learning tool. This book explores the idea of relating horror films to psychiatric ideas as a way of engaging people in learning.
Updated to include the most movie mega-hits, this sci-fi, fantasy, and horror movie guide has it all--the shockers, schlockers, blockbusters, bombs, cult faves, rare gems, classics, groundbreakers, gorefests, space operas, sorcery, Euro-splatter, and everything in between.
A devil is the personification of evil as it is conceived in many and various cultures and religious traditions. It is seen as the objectification of a hostile and destructive force. It is difficult to specify a particular definition of any complexity that will cover all of the traditions, beyond that it is a manifestation of evil. It is meaningful to consider the devil through the lens of each of the cultures and religions that have the devil as part of their mythos. The history of this concept intertwines with theology, mythology, psychiatry, art and literature, maintaining a validity, and developing independently within each of the traditions. It occurs historically in many contexts and cultures, and is given many different names -Satan, Lucifer, Beelzebub, Mephistopheles - and attributes: It is portrayed as blue, black, or red; It is portrayed as having horns on its head, and without horns, and so on. The idea of the devil has been taken seriously often, but not always, for example when devil figures are used in advertising and on candy wrappers. This book is the assembly of various texts that are freely available on the web, especially from Wikipedia. The next obvious question is: why buy this book? The answer: because it means you avoid having to carry out long and tedious internet searches. The topics are all linked to each other organically, and as a function of the subject and, in most cases, contain additional unpublished topics, not found on the web. Moreover, the inclusion of images completes the work so as to make it unique and unrepeatable. Contents of the book: The Devil: Etymology, Definitions, Bahá'í Faith, Christianity, Apocrypha/Deuterocanon, German paganism, Mandaeanism, Catharism, Hinduism, Islam, In Sufism and mysticism, In Salafism, Judaism, Manichaeism, Tengrism, Yazidism, Zoroastrianism. Demons: Titles. Devil in the arts and popular culture: Entertainment, Music, Classical music, Popular music, Film and television, Film, Television, Animation, Anime and manga, Radio, Literature, Comics, Video games, Role-playing games, The Devil's Dictionary, U.S. Justice. Demons Horror Movies The Most Representative Movies: Angel Heart, The Devil's Advocate, Rosemary's Baby, Constantine, The Greatest Story Ever Told. Of each film: Poster, images taken from the film, plot, criticism and other curiosities. List of films about demons.
Pseudomonarchia Daemonum, or False Monarchy of Demons, first appears as an Appendix to Johann Weyer's De praestigiis daemonum (On the Trick of Daemons, 1577).An abridgement of a grimoire similar in nature to the Ars Goetia, the first book of The Lesser Key of Solomon, it contains a list of demons, and the appropriate hours and rituals to conjure them.This copy contains both Weyer's original Latin text as well as Reginald Scot's English translation, which was origianlly published in his newsletter The Discoverie of Witchcraft (1584).The book was written before The Lesser Key of Solomon, and has some differences. There are sixty-nine demons listed (instead of seventy-two), and the order of the spirits varies, as well as some of their characteristics. The demons Vassago, Seere, Dantalion and Andromalius are not listed in this book, while Pruflas is not listed in The Lesser Key of Solomon. Pseudomonarchia Daemonum does not attribute seals to the demons, as The Lesser Key of Solomon does.
Since the release of The Exorcist in 1973, there has been a surge of movies depicting young women becoming possessed by a demonic force that only male religious figures can exorcise, thereby saving the women from eventual damnation. This book considers this history of exorcism cinema by analyzing how the traditional exorcism narrative, established in The Exorcist, recurs across the exorcism subgenre to represent the effects of demonic possession and ritual exorcism. This traditional exorcism narrative often functions as the central plot of the exorcism film, with only the rare film deviating from this structure. The analysis presented in this book considers how exorcism films reflect, reinforce or challenge this traditional exorcism narrative. Using various cultural and critical theories, this book examines how representations of possession and exorcism reflect, reinforce or challenge prevailing social, cultural, and historical views of women, minorities, and homosexuals. In particular, exorcism films appear to explore tensions or fears regarding empowered and sexually active women, and frequently reinforce the belief that such individuals need to be subjugated and disempowered so that they no longer pose a threat to those around them. Even more recent films, produced after the emergence of third wave feminism, typically reflect this concern about women. Very rarely do exorcism films present empowered women and feminine sexuality as non-threatening. In examining this subgenre of horror films, this book looks at films that have not received much critical scrutiny regarding the messages they contain and how they relate to and comment upon the historical periods in which they were produced and initially received. Given the results of this analysis, this book concludes on the necessity to examine how possession and exorcism are portrayed in popular culture.
The Italian Gothic horror genre underwent many changes in the 1980s, with masters such as Mario Bava and Riccardo Freda dying or retiring and young filmmakers such as Lamberto Bava (Macabro, Demons) and Michele Soavi (The Church) surfacing. Horror films proved commercially successful in the first half of the decade thanks to Dario Argento (both as director and producer) and Lucio Fulci, but the rise of made-for-TV products has resulted in the gradual disappearance of genre products from the big screen. This book examines all the Italian Gothic films of the 1980s. It includes previously unpublished trivia and production data taken from official archive papers, original scripts and interviews with filmmakers, actors and scriptwriters. The entries include a complete cast and crew list, plot summary, production history and analysis. Two appendices list direct-to-video releases and made-for-TV films.
The screenwriter and producer behind Stephen King’s It shares a hilarious, tongue-in-cheek survival guide that celebrates iconic horror movies both past and present! THE PERFECT GIFT FOR HORROR MOVIE LOVERS: Features spooky illustrations, a list of 100 must-see horror films, and an introduction by Nightmare on Elm Street’s Wes Craven. Are you reading this in a cornfield, at a summer camp, or in an abandoned mental institution? Have you noticed that everything is poorly lit, or that music surges every time you open a door? If the answer is yes, you’re probably trapped in a horror movie. But don’t freak out—just read this book! With it you will learn how to overcome every obstacle found in scary films, including: • How to determine what type of horror film you’re trapped in • The five types of slashers and how to defeat them • How to handle killer dolls, murderous automobiles, and other haunted objects • How to deal with alien invasions, zombie apocalypses, and other global threats • What to do if you did something last summer, if your corn has children in it, or if you suspect you’re already dead So don't be afraid: no vampire, zombie horde, cannibal hillbilly, Japanese vengeance ghost, or other horror movie monster can hurt you—as long as you have this book.
Father Damien Karras: 'Where is Regan?' Regan MacNeil: 'In here. With us.' The terror begins unobtrusively. Noises in the attic. In the child's room, an odd smell, the displacement of furniture, an icy chill. At first, easy explanations are offered. Then frightening changes begin to appear in eleven-year-old Regan. Medical tests fail to shed any light on her symptoms, but it is as if a different personality has invaded her body. Father Damien Karras, a Jesuit priest, is called in. Is it possible that a demonic presence has possessed the child? Exorcism seems to be the only answer... First published in 1971, The Exorcist became a literary phenomenon and inspired one of the most shocking films ever made. This edition, polished and expanded by the author, includes new dialogue, a new character and a chilling new extended scene, provides an unforgettable reading experience that has lost none of its power to shock and continues to thrill and terrify new readers.
When med student Hale is called home by his ailing mother on Halloween night, he and a group of friends are trapped in an inescapable cycle of violence.
It wasn’t technically an exorcism, what they did to Clare. When the reverend and his son ripped her demon from her, they called it a “deliverance.” But they didn’t understand that Clare and her demon—known simply as Her—were like sisters. She comforted Clare, made her feel brave, helped to ease her loneliness. They were each other’s Only. Now, Clare’s only comforts are the three clues that She left behind: Be nice to him June 20 Remember the stories Clare will do anything to get Her back, even if it means teaming up with the reverend’s son and scouring every inch of her small, Southern town for answers. But if she sacrifices everything to bring back her demon, what will be left of Clare?
