The difference between a pastor and a lecturer is the word “supernatural.” Both the lecturer and the pastor stand before people to speak, but the difference in the both of them is the supernatural that accompanies the words of the pastor. It does not matter the size of a church, if it has a big cathedral without the supernatural, it is a warehouse. God told me many years ago that I am not a minister of information, but of the gospel. I have been called to preach the gospel, not to gossip. When a preacher preaches the gospel without power, he is a gossip. Without the supernatural ministry, every other thing is a joke. Do all you can to covet the supernatural in your ministry as a minister of the gospel.
This study sees the nineteenth century supernatural as a significant context for cinema’s first years. The book takes up the familiar notion of cinema as a “ghostly,” “spectral” or “haunted” medium and asks what made such association possible. Examining the history of the projected image and supernatural displays, psychical research and telepathy, spirit photography and X-rays, the skeletons of the danse macabre and the ghostly spaces of the mind, it uncovers many lost and fascinating connections. The Modern Supernatural and the Beginnings of Cinema locates film’s spectral affinities within a history stretching back to the beginning of screen practice and forward to the digital era. In addition to examining the use of supernatural themes by pioneering filmmakers like Georges Méliès and George Albert Smith, it also engages with the representations of cinema’s ghostly past in Guy Maddin’s recent online project Seances (2016). It is ideal for those interested in the history of cinema, the study of the supernatural and the pre-history of the horror film.
“Turning to face north, face the north, we enter our own unconscious. Always, in retrospect, the journey north has the quality of dream.” Margaret Atwood, “True North” In this interdisciplinary collection, sixteen scholars from twelve countries explore the notion of the North as a realm of the supernatural. This region has long been associated with sorcerous inhabitants, mythical tribes, metaphysical forces of good and evil, and a range of supernatural qualities. It was both the sacred abode of the gods and a feared source of menacing invaders and otherworldly beings. Whether from the perspective of traditional Jewish lore or of contemporary black metal music, few motifs in European cultural history show such longevity and broad appeal. Contributors: Eleanor Rosamund Barraclough, Angela Byrne, Danielle Marie Cudmore, Stefan Donecker, Brenda S. Gardenour Walter, Silvije Habulinec, Erica Hill, Jay Johnston, Maria Kasyanova, Jan Leichsenring, Shane McCorristine, Jennifer E. Michaels, Ya’acov Sarig, Rudolf Simek, Athanasios Votsis, Brian Walter