Murray Leeder is Adjunct Assistant Professor in Communication, Media and Film at the University of Calgary, Canada. He is the author The Modern Supernatural and the Beginnings of Cinema (2017) and Halloween (2013), and editor of Cinematic Ghosts (2015) and ReFocus: The Films of William Castle (2018).

• Acknowledgements IntroductionMurray Leeder, University of Calgary, CanadaGhosts of Pre-Cinema and Silent CinemaChapter 1Phantom Images and Modern Manifestations: Spirit Photography, Magic Theater, Trick Films and Photography’s UncannyTom Gunning, University of Chicago, USAChapter 2“Visualizing the Phantoms of the Imagination”: Projecting Haunted Minds Murray Leeder, University of Calgary, CanadaChapter 3Specters of the Mind: Ghosts, Illusion, and Exposure in Paul Leni’s The Cat and the CanarySimone Natale, Humboldt University, GermanyChapter 4Supernatural Speech: Silent Cinema's Stake in Visualizing the Impossible Robert Alford, University of California, Berkeley, USA Cinematic Ghosts from the 1940s through the 1980sChapter 5Bad Sync: Spectral Sound and Retro-effects in Portrait of Jennie René Thoreau Bruckner, University of Southern California, USAChapter 6“Antique Chiller”: Quality, Pretention and History in the Critical Reception of The Innocents and The Haunting Mark Jancovich, University of East Anglia, UKChapter 7Shadows of Shadows: The Undead in Ingmar Bergman’s Cinema Maurizio Cinquegrani, University of Kent, UKChapter 8Locating the Spectre in Dan Curtis’s Burnt Offerings Dara Downey, University College Dublin, IrelandChapter 9The Bawdy Body in Two Comedy Ghost Films: Topper and Beetlejuice Katherine A. Fowkes, High Point University, USA Millennial GhostsChapter 10“I See Dead People”: Visualizing Ghosts in the Horror Film Before the Arrival of CGI Steffen Hantke, Sogang University, KoreaChapter 11Spectral Remainders and Transcultural Hauntings: (Re)iterations of the Onryo in ContemporaryJapanese Horror Cinema Jay McRoy, University of Wisconsin – Parkside, USAChapter 12Painted Skin: Romance with the Ghostly Femme Fatale in Contemporary Chinese Cinema Li Zeng, Illinois State University, USAChapter 13“It’s Not the House that’s Haunted”: Demons, Debt and the Family in Peril in Recent Horror CinemaBernice M. Murphy, Trinity College, Dublin, IrelandChapter 14Glitch Gothic Marc Olivier, Brigham Young University, USAChapter 15Showing the Unknown: Uncle Boonmee Who Can Recall His Past Lives Mitsuyo Wada-Marciano, Carleton University, CanadaAfterword: Haunted Viewers Jeffrey Sconce, Northwestern University, USA

There is much to interest readers and the book will (dare I say it) leave them in good spirits ... A thoughtful and entertaining addition to any film or religion studies collection, whether for personal or professional purposes, at undergraduate or postgraduate level.

Murray Leeder is Adjunct Assistant Professor in Communication, Media and Film at the University of Calgary, Canada. He is the author The Modern Supernatural and the Beginnings of Cinema (2017) and Halloween (2013), and editor of Cinematic Ghosts (2015) and ReFocus: The Films of William Castle (2018).

• Acknowledgements IntroductionMurray Leeder, University of Calgary, CanadaGhosts of Pre-Cinema and Silent CinemaChapter 1Phantom Images and Modern Manifestations: Spirit Photography, Magic Theater, Trick Films and Photography’s UncannyTom Gunning, University of Chicago, USAChapter 2“Visualizing the Phantoms of the Imagination”: Projecting Haunted Minds Murray Leeder, University of Calgary, CanadaChapter 3Specters of the Mind: Ghosts, Illusion, and Exposure in Paul Leni’s The Cat and the CanarySimone Natale, Humboldt University, GermanyChapter 4Supernatural Speech: Silent Cinema's Stake in Visualizing the Impossible Robert Alford, University of California, Berkeley, USA Cinematic Ghosts from the 1940s through the 1980sChapter 5Bad Sync: Spectral Sound and Retro-effects in Portrait of Jennie René Thoreau Bruckner, University of Southern California, USAChapter 6“Antique Chiller”: Quality, Pretention and History in the Critical Reception of The Innocents and The Haunting Mark Jancovich, University of East Anglia, UKChapter 7Shadows of Shadows: The Undead in Ingmar Bergman’s Cinema Maurizio Cinquegrani, University of Kent, UKChapter 8Locating the Spectre in Dan Curtis’s Burnt Offerings Dara Downey, University College Dublin, IrelandChapter 9The Bawdy Body in Two Comedy Ghost Films: Topper and Beetlejuice Katherine A. Fowkes, High Point University, USA Millennial GhostsChapter 10“I See Dead People”: Visualizing Ghosts in the Horror Film Before the Arrival of CGI Steffen Hantke, Sogang University, KoreaChapter 11Spectral Remainders and Transcultural Hauntings: (Re)iterations of the Onryo in ContemporaryJapanese Horror Cinema Jay McRoy, University of Wisconsin – Parkside, USAChapter 12Painted Skin: Romance with the Ghostly Femme Fatale in Contemporary Chinese Cinema Li Zeng, Illinois State University, USAChapter 13“It’s Not the House that’s Haunted”: Demons, Debt and the Family in Peril in Recent Horror CinemaBernice M. Murphy, Trinity College, Dublin, IrelandChapter 14Glitch Gothic Marc Olivier, Brigham Young University, USAChapter 15Showing the Unknown: Uncle Boonmee Who Can Recall His Past Lives Mitsuyo Wada-Marciano, Carleton University, CanadaAfterword: Haunted Viewers Jeffrey Sconce, Northwestern University, USA

There is much to interest readers and the book will (dare I say it) leave them in good spirits ... A thoughtful and entertaining addition to any film or religion studies collection, whether for personal or professional purposes, at undergraduate or postgraduate level.

Murray Leeder is Adjunct Assistant Professor in Communication, Media and Film at the University of Calgary, Canada. He is the author The Modern Supernatural and the Beginnings of Cinema (2017) and Halloween (2013), and editor of Cinematic Ghosts (2015) and ReFocus: The Films of William Castle (2018).

• Acknowledgements IntroductionMurray Leeder, University of Calgary, CanadaGhosts of Pre-Cinema and Silent CinemaChapter 1Phantom Images and Modern Manifestations: Spirit Photography, Magic Theater, Trick Films and Photography’s UncannyTom Gunning, University of Chicago, USAChapter 2“Visualizing the Phantoms of the Imagination”: Projecting Haunted Minds Murray Leeder, University of Calgary, CanadaChapter 3Specters of the Mind: Ghosts, Illusion, and Exposure in Paul Leni’s The Cat and the CanarySimone Natale, Humboldt University, GermanyChapter 4Supernatural Speech: Silent Cinema's Stake in Visualizing the Impossible Robert Alford, University of California, Berkeley, USA Cinematic Ghosts from the 1940s through the 1980sChapter 5Bad Sync: Spectral Sound and Retro-effects in Portrait of Jennie René Thoreau Bruckner, University of Southern California, USAChapter 6“Antique Chiller”: Quality, Pretention and History in the Critical Reception of The Innocents and The Haunting Mark Jancovich, University of East Anglia, UKChapter 7Shadows of Shadows: The Undead in Ingmar Bergman’s Cinema Maurizio Cinquegrani, University of Kent, UKChapter 8Locating the Spectre in Dan Curtis’s Burnt Offerings Dara Downey, University College Dublin, IrelandChapter 9The Bawdy Body in Two Comedy Ghost Films: Topper and Beetlejuice Katherine A. Fowkes, High Point University, USA Millennial GhostsChapter 10“I See Dead People”: Visualizing Ghosts in the Horror Film Before the Arrival of CGI Steffen Hantke, Sogang University, KoreaChapter 11Spectral Remainders and Transcultural Hauntings: (Re)iterations of the Onryo in ContemporaryJapanese Horror Cinema Jay McRoy, University of Wisconsin – Parkside, USAChapter 12Painted Skin: Romance with the Ghostly Femme Fatale in Contemporary Chinese Cinema Li Zeng, Illinois State University, USAChapter 13“It’s Not the House that’s Haunted”: Demons, Debt and the Family in Peril in Recent Horror CinemaBernice M. Murphy, Trinity College, Dublin, IrelandChapter 14Glitch Gothic Marc Olivier, Brigham Young University, USAChapter 15Showing the Unknown: Uncle Boonmee Who Can Recall His Past Lives Mitsuyo Wada-Marciano, Carleton University, CanadaAfterword: Haunted Viewers Jeffrey Sconce, Northwestern University, USA

There is much to interest readers and the book will (dare I say it) leave them in good spirits ... A thoughtful and entertaining addition to any film or religion studies collection, whether for personal or professional purposes, at undergraduate or postgraduate level.