Fascinating: last week, right on the heels of Harold Ramis’s death, Esquire published “An Oral History of Ghostbusters” (originally published in Premiere Magazine), in which various cast and crew members recount the making, reception, and enduring cultural impact of everybody’s favorite ghost-chasing movie. And it leads with a statement from Dan Aykroyd about the way the film arose out of his serious reading, and also his personal and familial history, in the field of real paranormal and psychical research:
In about 1981, I read an article on quantum physics and parapsychology in The Journal of the American Society for Psychical Research. And it was like, bang — that’s it. It was also a combination of my family’s history — my great-grandfather was an Edwardian spiritualist, and my mother claims she saw an apparition of my great-great-grandparents while nursing me and watching films like the Bowery Boys’ Ghost Chasers and Bob Hope’s The Ghost Breakers. I thought, “Wouldn’t it be great to update the ghost movies from the ’40s?”
FULL STORY: “An Oral History of Ghostbusters“
The fact that Aykroyd is personally interested in such matters is not, of course, news. In addition to having prominently associated himself with UFO research, he openly self-identifies as a Spiritualist. And as it turns out, all the way back in 2003 he told Private Clubs magazine about the inspiring influence of these things on Ghostbusters:
PRIVATE CLUBS: Was your enthusiasm for the paranormal the spark for Ghostbusters or did Ghostbusters spark your enthusiasm?
DAN AYKROYD: My great-grandfather was an Edwardian spiritualist who belonged to the British Society for Psychical Research, and he got the entire family thinking along these lines back three generations ago. My grandfather had séances in the farmhouse. My father read everything he could on trance mediumship, where the medium will go into a trance and become another person, speak in another voice. They did a lot of that. So this stuff was lying around the house, and it was natural for me to have an interest in it.
In light of all this, I can’t help but wonder about the possibility that, if the paranormal really is America’s new religion, then the epic impact of Ghostbusters, which landed like a mile-wide asteroid in the middle of popular culture in 1984, may be implicated in such a development, given the movie’s creative and philosophical grounding in serious “real-world” issues of this sort. Maybe I, along with everybody else in America, was unwittingly imbibing a huge dose of authentic paranormal/supernatural and daemonic/shamanic psychic energy as we sat laughing our lungs out in darkened movie theaters 30 years ago while four wise-ass bozos paraded across the screen battling an invading horde of other-dimensional ghosts and demons.
Image via Wikipedia, Fair Use
If you find yourself in Waco, Texas in October 2013 — specifically, on Friday, October 25 — and you’re in the mood to celebrate the Halloween horror season in style, be sure to come join us for the fourth annual Dark Mirror horror film festival. Four classic horror films. Informative introductory talks by vampire expert and religion scholar Dr. J. Gordon Melton, Baylor University film professor Dr. Jim Kendrick, and yours truly. All the junk food you care to buy (popcorn, candy, chili cheese nachos, hot dogs, soda, water). What’s not to like?
There simply are no words. And I mean that literally, as you’re about to see.
When I learned recently of the imminent release of a new film by director Godfrey Reggio, he of Koyaanisqatsi, Powaqqatsi, and Naqoyqatsi fame, I was fairly stunned. Then the sensation was augmented when I watched the trailers. As I explained here three months ago, Koyaanisqatsi literally changed my life, and more than one person contacted me after I published that post to let me know they feel the very same way.
And now comes Visitors. Like Reggio’s first three films, this one features an original musical score by Philip Glass. Like Naqoyqatsi, it features visual design by filmmaker Jon Kane. It will premier at the Toronto International Film Festival on September 8, and will be presented there by Steven Soderbergh.
Here is the just-released teaser trailer, followed by an earlier trailer (from 2011) that was released when the project was being developed under the alternate title The Holy See. Even though they’re similar, be sure to watch the second one to its conclusion, which offers a striking “payoff.”
Here’s the film’s official description:
Thirty years after Koyaanisqatsi, Godfrey Reggio — with the support of Philip Glass and Jon Kane — once again leapfrogs over earthbound filmmakers and creates another stunning, wordless portrait of modern life. Presented by Steven Soderbergh in stunning B&W 4K, Visitors reveals humanity’s trancelike relationship with technology, which, when commandeered by extreme emotional states, produces massive effects far beyond the human species. The film is visceral, offering the audience an experience beyond information about the moment in which we live. Comprised of only 74 shots, Visitors takes viewers on a journey to the moon and back to confront them with themselves.
For what it’s worth, I predict a positively mythic impact.
Last of the Titans: A Note on the Passing of Ray Harryhausen (and Forrest Ackerman and Ray Bradbury)
EDITOR’S NOTE: With this post we welcome award-winning writer, editor, filmmaker, composer, and artist Jason V. Brock to the Teem. Jason’s work has been published in Butcher Knives & Body Counts, Simulacrum and Other Possible Realities, Fungi, Fangoria, S. T. Joshi’s Black Wings series, and elsewhere. He was Art Director/Managing Editor for Dark Discoveries magazine for more than four years, and he edits the biannual pro digest [NAMEL3SS], dedicated to “the macabre, esoteric and intellectual,” which can be found on Twitter at @NamelessMag and on the Interwebs at www.NamelessMag.com. He and his wife, Sunni, also run Cycatrix Press.
As a filmmaker Jason’s work includes the documentaries Charles Beaumont: The Short Life of Twilight Zone’s Magic Man, The Ackermonster Chronicles!, and Image, Reflection, Shadow: Artists of the Fantastic. He is the primary composer and instrumentalist/singer for his band, ChiaroscurO. Jason loves his wife, their family of reptiles/amphibians, travel, and vegan/vegetarianism. He is active on social sites such as Facebook and Twitter (@JaSunni_JasonVB) and at his and Sunni’s personal website/blog, www.JaSunni.com.
Jason will contribute an occasional column titled “Monstrous Singularities.” For this inaugural installment, he offers an elegiac reflection on the passing of three authentic titans of fantasy, horror, and science fiction whose work literally helped to define major aspects of popular culture and collective psychology during the twentieth century.
* * *
They were present at the beginning… and we are witness to their end.
Endings, in many ways, are entrances into self-realization — whether a portal into some altered state of mind, a window into collective insight, or even a chance for some final and comforting acceptance. Endings signify not only change, but also, often, transcendence, either metaphorically or literally, and on occasion simultaneously. Be it a lonely struggle that reaches a sad (even tragic) conclusion, or perhaps the unexpected outcome of a traumatic situation, or the shared exhilaration of justice served, endings are always transitional, even transformational, in ways that beginnings cannot be. Endings are the true headstones by which we collectively measure and define history. They are markers of conclusiveness — more so than births or the start of a new venture, which can be shrouded in secrecy, obscured by the fog of antiquity, or both. Thus, they are uniquely able to serve as touchstones for what has been bequeathed to the past (what cannot be again) and what is yet to be accomplished (and is therefore allotted to the future).
In May of 2013, the 92-year-old stop-motion animation film pioneer and artistic genius Ray Harryhausen, perhaps best known for his creation of the special visual effects for Jason and the Argonauts and Clash of the Titans, passed away. His ending completes, in a sense, a circle of loss for the world; with the transitioning of Harryhausen away from the realm of the living and into the annals of time, a triumvirate of giants has now vanished from the Earth, a troika destined to become even more powerful in voice, authority, and veneration over time. This amplification will undoubtedly be quite profound in the immediately foreseeable future, as people who are not yet aware of them, or who may have forgotten the seismic impact of their works and personalities, discover or rediscover their greatness and celebrate it even more, perchance, than those who instantly recognized it and mourned their loss to humanity and culture. Read the rest of this entry
Remember Ray Bradbury’s famous fascination with the idea that hot weather spurs an increase in assaults and other violent behavior? This was the basic premise behind his widely reprinted 1954 short story “Touched with Fire,” in which two retired insurance salesmen try to prevent a murder. In a key passage, one of them shares his thoughts on the relationship between heat and violence:
More murders are committed at ninety-two degrees Fahrenheit than any other temperature. Over one hundred, it’s too hot to move. Under ninety, cool enough to survive. But right at ninety-two degrees lies the apex of irritability, everything is itches and hair and sweat and cooked pork. The brain becomes a rat rushing around a red-hot maze. The least thing, a word, a look, a sound, the drop of a hair and — irritable murder. Irritable murder, there’s a pretty and terrifying phrase for you.
Notably, Bradbury adapted this story twice for television, once for Alfred Hitchcock Presents as the 1956 episode “Shopping for Death” and then more than thirty years later for his own Ray Bradbury Theater as the 1990 episode “Touched with Fire.” He also inserted the same idea about heat and violence into his screen treatment for the 1953 minor science fiction classic It Came from Outer Space, which was thoroughly reworked by screenwriter Harry Essex, who got the actual screenplay credit, but which ended up including much of a Bradburyan nature, including a detailed statement of the 92-degrees thesis, placed in the mouth of a small-town American sheriff confronting an alien invasion. (Note that you can hear an audio clip of this dialogue at the beginning of Siouxsie & the Banshees’ 1986 song “92 Degrees.”)
Now comes a new study, conducted by several U.S. scientists, that appears to offer preliminary “official” vindication for this idea that so fascinated Bradbury when he encountered it somewhere or other during the early decades of his long and fertile career:
Bring on the cool weather — climate change is predicted to cause extreme weather, more intense storms, more frequent floods and droughts, but could it also cause us to be more violent with one another? A new study from scientists in the US controversially draws a link between increased rates of domestic violence, assault and other violent crimes and a warming climate.
That conflict could be a major result of global warming has long been accepted. As climate change makes vulnerable parts of the world more susceptible to weather-related problems, people move from an afflicted region to neighbouring areas, bringing them into conflict with the existing populations. That pattern has been evident around the world, and experts have even posited that conflicts such as Darfur should be regarded as climate related. But the authors of the study, published in the peer review journal Science, have departed from such examples to look closely at patterns of violence in Brazil, China, Germany and the US.
The authors suggest that even a small increase in average temperatures or unusual weather can spark violent behaviour. They found an increase in reports of domestic violence in India and Australia at times of drought; land invasions in Brazil linked to poor weather; and more controversially, a rise in the number of assaults and murders in the US and Tanzania.
. . . The underlying reasons could run from increased economic hardship as harvests fail or droughts bite, to the physiological effects of hot weather.
– Fiona Harvey, “Climate change linked to violent behavior,” The Guardian, August 2, 2013
To illustrate this study, here’s that episode of Alfred Hitchcock Presents:
You can also watch the (alas, decidedly inferior) adaptation of the same story for Ray Bradbury Theater online.
The major theme that I have pursued in my books and other writings is the complementary nature of the divine and the demonic. Or rather, it’s the truth of the divine demonic or demonic divine, that searing fusion of the horrific with the beatific in a liminal zone where supernatural horror and religion are inextricably merged with each other, and where it’s not just the conventionally demonic that is the source of deepest dread and horror, but the very divine object itself: God, the One, the Ground of Being. If God is or can be the ultimate horror, then the experience of religious illumination or spiritual awakening is inherently dangerous, since it constitutes a true personal apocalypse, a removal of reality’s obscuring veil that can be experienced not just as a wonderful liberation but as an awe-ful nightmare. “It is a dreadful thing,” says the author of the biblical Book of Hebrews, “to fall into the hands of the living God,” who is “a consuming fire” and should be worshiped “with holy fear and awe” (Hebrews 10:31, 12:28-29). The experience of numinous horror thus reveals itself as a route to, and maybe a marker of, an authentic spiritual transformation, although of a sort whose unpleasant subjective aspects often call into question its fundamental desirability.
It has been one of my most passionate pleasures and obsessions in life to read and hear other people’s explorations of these things. This is why you’ve seen me refer so many times to, for instance, Rudolf Otto’s seminal formulation of the idea of the numinous and the mysterium tremendum and daemonic dread, and Lovecraft’s open recognition that the psychology of weird supernatural horror fiction and its basic emotional response is “coeval with the religious feeling and closely related to many aspects of it,” and William James’s assertion in The Varieties of Religious Experience that the “real core of the religious problem” lies in an experience of cosmic horror and despair at the fundamental hideousness of life.
Right now I would like to call your attention to two items in this very vein that are distinctly separate in objective terms but intimately related in their articulation of the demonic divine conundrum. The first is a clip from the 1990 film Jacob’s Ladder. The second is an excerpt from an interview with contemporary spiritual author and teacher Richard Moss. Both of them articulate a very important truth: that one’s individual perspective and inner state at the moment of a supernatural parting of the veil is what determines whether the experience will tilt toward the divine or demonic. Read the rest of this entry