Ryan G. Duns, SJ, is my guest in this conversation. Ryan is an associate professor of theology at Marquette University. We discuss his new book Theology of Horror: The Hidden Depths of Popular Films (University of Notre Dame Press, 2024).
From the description at Amazon:
Theology of Horror explores the dark reaches of popular horror films, bringing to light their implicit theological and philosophical themes.
Horror films scare and entertain us, but there’s more to be found in their narratives than simple thrills. Within their shadows, an attentive viewer can glimpse unexpected flashes of orthodox Christian belief. In Theology of Horror, Ryan G. Duns, SJ, invites readers to undertake an unconventional pilgrimage in search of these buried theological insights.
Duns uses fifteen classic and contemporary horror films―including The Blair Witch Project, A Nightmare on Elm Street, Candyman, and The Purge―as doorways to deeper reflection. Each chapter focuses on a single film, teasing out its implicit philosophical and theological themes. As the reader journeys through the text, a surprisingly robust theological worldview begins to take shape as glimmers of divine light emerge from the darkness. Engaging and accessible, Theology of Horror proves that, rather than being the domain of nihilists or atheists, the horror film genre can be an opportunity for reflecting on “things visible and invisible,” as Christians profess in the Nicene Creed.
My friend and past CINEFANTASTIQUE ONLINE co-contributor, Daniel Persons, let me know about a knew film he’s been involved with. It’s called CLAY ZOMBIES. You can watch the trailer at the link below. Don’t forget your 3D glasses!
My Amazon feed made a recommendation recently in the form of a new book, Satan in the Celluloid: 100 Satanic and Occult Horror Movies of the 1970s by P.J. Thorndyke. The subject matter and description resonated with prior posts of mine:
They were a product of their time. The counterculture of the 1960s had soured with the brutal actions of the Manson Family sparking fears of cults and hippie mysticism. Christian fundamentalism was on the rise and the Satanic Panic of the 1980s was just around the corner. But, for the 1970s, the devil stalked the screens as a figure to be feared, invoked, exorcised and worshiped. He possessed young girls, demanded blood sacrifice and caused nuns to cast off their habits and indulge their most blasphemous and erotic desires.
From the heavy hitters like The Exorcist and The Omen to the drive-in favorites like Race with the Devil and The Brotherhood of Satan to foreign entries like Suspiria and The Wicker Man, this book takes a deep dive into the demonic movies that thrilled and terrified audiences of the 1970s.
I was all too happy to purchase the title, with 388 pages for only $15. The book begins with two chapters devoted to the “short history of the occult and occult fiction,” and the “influence of death of the ’60s” counterculture. The bulk of the book is then devoted to film descriptions with some commentary divided by categories of “evil cults,” “possession,” and “black magic.” The volume concludes with some consideration of the Satanic panics in which these films are situated.
When I considered purchasing this volume I noted that the author is a writer addressing the “trashier side of pop culture,” so I knew this wouldn’t have an academic bent. But I do wish the author had gone a little deeper into the subject matter and that the treatment had at least some familiarity with summaries of the relevant scholarly studies. As it is, this volume consists largely of film descriptions, although I am grateful for a compilation of the material. This book is worth including in a library devoted to cinematic treatment of “occultic and Satanic” cinema, but it is a supplemental volume that should be considered in light of other treatments. For some of of those see the tag on this blog at https://www.theofantastique.com/category/satanism/.
As much as I wanted to see KINGDOM OF THE PLANET OF THE APES in theaters, I was never able to do so, but I did catch it streaming on Hulu recently. The trailers looked interesting, but I wasn’t sure how the film was going to play out. I am a huge fan of the original five films of the late Sixties and Seventies, and I enjoyed the prior reboot film trilogy with Andy Serkis setting the bar high in his work as Caesar leading the apes to their promised land and his death. This new film left me wondering how things would proceed. It involved a completely new story in the hands of a new director. Would it live up to the legacy established by so many films (Tim Burton’s effort notwithstanding)?
I am pleased to report that for me this film is a worthy addition to the tales of the apes, perhaps even better than the first three in the reboot trilogy, and opening the door for a fresh series. This film’s story takes place a few hundred years after the death of Caesar, where the apes are now living across the land in tribes much like Native American humans. There is a new Caesar, Proximus, seeking to unify the apes through a process of slavery and pillaging, all in an effort to build his kingdom and save the apes from the treat he sees in the humans.
It is this apes vs. humans aspect that makes this film so interesting. Gone are the Serkis Caesar’s efforts at living in peace with humans, as this film sets up a diversity with the surviving humans themselves: those living as mutes in a feral state as established in the 1968 film and carried on in the new series by way of a virus, and a separate group of humans who have survived the virus and maintain their connection to a culture of technology. It is this technological human that Caesar finds so threatening as he seeks to get access to their weapons and knowledge so that he can speed up the process of ape evolution. The main question posed at the end of KINGDOM is an old one in the franchise: can apes and humans live together, where apes function as a reminder of the animal nature and dark side of human action in the world?
In addition to a good storyline, this film expands on the prior trilogy with expansive cinematography that depicts the diversity of ape communities, from lush forests to rusted out ships on the coastline. This film also does a great job at acknowledging both the prior trilogy as well as the first ape films that got this franchise going. In the human hunt scene there are both stylistic echoes as well as snippets of Jerry Goldmith’s wonderful musical score. In addition, at one point the apes are searching through an area where humans had stored items in an attempt to survive and a child’s doll is found. When an ape picks it up it cries “momma,” a nod to the doll Taylor throws at Zaius as evidence that humans were prior to and superior to apes.
Musical score for Human Hunt
All in all I was very pleased with this film, and I’m hoping that toy makers like NECA release a Proximus figure, and that 20th Century Studios is already hard at work in pre-production for the next installment in this new series.
A while back I heard that a new four-part comic series was being released with a new take on THE CREATURE FROM THE BLACK LAGOON. I pre-ordered them and read them as they came in the mail in two installments of two comics each. While it was great to see my favorite creature, the one that started my fandom and monstrous fascination as a child, the story arch for the series was only so-so for me. In trying to update the Creature into a contemporary story the Gill-Man became little more than an element in the background who (literally) only surfaced from time to time. In addition, the artistic reworking of the Creature with glowing eyes, red lips and sharp teeth was not the iconic look fans have come to love for decades.
But even with my disappointment with the Creature comics I learned that DRACULA had been released previously. I couldn’t track down all four issues at one seller so I opted for purchasing the set in a hardbound collection. To my pleasant surprise this series was very well done. It honored and drew upon the original film from 1931 in terms of story and look, but at the same time also included new material in a reworking of the classic.
The artwork is worthy of special note. It has the look of horror paintings, many of which carry the action and story forward without the need for dialogue, and the images capture the essence of horror that one is both repelled by and drawn too at the same time.
You can order your copy of the Universal Monsters comics from Image, Amazon, or your online comic retailer.
It has been quite a while since I last blogged here. I’ve been busy the last year planning major revisions and expansion to some of my nonprofit and have been content to share TheoFantastique thoughts on Facebook. But I thought I’d make a few posts in light of recent films and comics, for what it’s worth.
In this post I begin with ABIGAIL, a vampire film from Universal Studios. Almost the entire plot is given away in the trailer, but the film starts as a kidnapping for ransom tale of a seemingly innocent little girl ballerina. Soon the tale turns into a horror-comedy when the kidnappers learn they have nabbed a vampire, and the whole heist was a setup so Abigail the vampire could hunt them!
A few other thoughts come to mind. As I said above, the trailer gives away most of the film, but there are a few twists at the end. Given that this is a vampire film produced by Universal, it was nice to see a nod given to the studio’s Dracula from 1931 by way of the same opening music from Swan Lake. While ABIGAIL does have its horrific moments, it also never takes itself too seriously, and includes some genuinely funny moments. If you have a little time and want to have fun with some horror-comedy, ABIGAIL is currently streaming on Peacock and is available on DVD and Blu-ray.
I was pleasantly surprised to receive an email from Fuller Seminary on Friday announcing a forthcoming podcast addressing horror and spirituality. Given evangelicalism’s hesitancy to embrace horror out o concerns for evil and its alleged incompatibility with a respectable expression of faith, it will be interesting to see how horror is treated in this series. Some excerpts from the announcement and podcast website:
“The culmination of this theology-and-film journey is a brand new podcast that Brehm Film is producing in partnership with Christianity Today and Uncommon Voices Collective. It’s called “Be Afraid,” and it’s an exploration of fear, faith, and stories that scare the daylights out of us. The full series launches on October 6, 2023.”
“Hosted by Dr. Kutter Callaway, this podcast takes you on a journey into the heart of one of the most popular genres of contemporary film and television: horror. Whether you’re a lifelong horror fan or won’t go within 10-feet of a scary movie, each episode generates a conversation about the nature of our fears and why we just can’t seem to look away from the things that terrify us, even if we find ourselves peering through the slightly parted fingers covering our eyes. Over the course of the season, you’ll hear from major Hollywood filmmakers, well-known film critics, leading psychologists, and even an exorcist or two. At times, it will be dark, and perhaps even shocking, but the goal isn’t to wallow in this darkness anymore than it is to eliminate it from our lives. This podcast isn’t about how to avoid fear, how to leverage it, or even whether or not it’s ok to be afraid. This podcast is an exercise in learning how to fear rightly. It’s an exploration of fear, faith, and stories that scare the daylights out of us. From the studio that brought you “The Rise and Fall of Mars Hill” and “The Bulletin,” “Be Afraid” is a production of Christianity Today, Fuller Seminary, and Uncommon Voices
Steve Wiggins is the guest to discuss his new book The Wicker Man. From the publisher’s website description:
Many fans of Robin Hardy’s The Wicker Man (1973) may know that this classic is considered a fine sample of folk horror. Few will consider that it’s also a prime example of holiday horror. Holiday horror draws its energy from the featured festive day, here May Day. Sergeant Neil Howie (Edward Woodward), a ‘Christian copper,’ is lured to the remote Scottish island Summerisle where, hidden from the eyes of all, a thriving Celtic, pagan religion holds sway. His arrival at the start of the May Day celebration is no accident. The clash between religions, fought on the landscape of the holiday, drives the story to its famous conclusion.
In this Devil’s Advocate, Steve A. Wiggins delineates what holiday horror is and surveys various aspects of ‘the Citizen Kane of horror movies’ that utilize the holiday. Beginning with a brief overview of Beltane and how May Day has been celebrated, this study considers the role of sexuality and fertility in the film. Conflicting with Howie’s Christian principles, this leads to an exploration of his theology as contrasted with that of Lord Summerisle (Christopher Lee) and his tenants. Such differences in belief make the fiery ending practically inevitable.
I’m pleased to announce two forthcoming titles that look great. I know both authors and they have made appearances on this blog previously, which makes it even more exciting, and the subject matter is wonderful.
First, on the fiftieth anniversary of The Wicker Man film, Steve A. Wiggins has written The Wicker Man as part of The Devil’s Advocates series for Oxford University Press. Here’s the description:
Many fans of Robin Hardy’s The Wicker Man (1973) may know that this classic is considered a fine sample of folk horror. Few will consider that it’s also a prime example of holiday horror. Holiday horror draws its energy from the featured festive day, here May Day. Sergeant Neil Howie (Edward Woodward), a ‘Christian copper,’ is lured to the remote Scottish island Summerisle where, hidden from the eyes of all, a thriving Celtic, pagan religion holds sway. His arrival at the start of the May Day celebration is no accident. The clash between religions, fought on the landscape of the holiday, drives the story to its famous conclusion.
In this Devil’s Advocate, Steve A. Wiggins delineates what holiday horror is and surveys various aspects of ‘the Citizen Kane of horror movies’ that utilize the holiday. Beginning with a brief overview of Beltane and how May Day has been celebrated, this study considers the role of sexuality and fertility in the film. Conflicting with Howie’s Christian principles, this leads to an exploration of his theology as contrasted with that of Lord Summerisle (Christopher Lee) and his tenants. Such differences in belief make the fiery ending practically inevitable.
The Exorcist Effect is a fascinating historical study of the ongoing relationship between horror movies and Western religious culture, with a focus on the period from 1968 to the modern day. Taking its name from the 1973 film The Exorcist, which was widely understood to be based on a true story, this book outlines a cycle in which religious beliefs and practices become the basis of films that in turn inspire religious beliefs, practices, and experiences in response. Authors Joseph P. Laycock and Eric Harrelson draw heavily from archival research to shed new light on the details of this phenomenon, in addition to incorporating interviews with horror authors, film writers, and paranormal investigators.
Drawing on psychology, sociology, and folklore studies, Laycock and Harrelson theorize how film informs religious experience and shapes religious culture. The Exorcist Effect examines the production and reception of Rosemary’s Baby (1968), The Exorcist (1973), and The Omen (1976) as seminal films in the genre; figures as Malachi Martin as well as Ed and Lorraine Warren, who inserted themselves directly into the spotlight, and the horror films that influenced and were inspired by their careers; and areas of culture where the influence of this cycle was most apparent-the Satanic Panic, religious exorcisms, and moral panic over heavy metal and the messages it was purported to spread. The final chapter considers the QAnon conspiracy theory and its numerous allusions to film as a contemporary manifestation of “The Exorcist effect.”
Ultimately, The Exorcist Effect is a deftly researched and compelling volume that is sure to interest horror buffs, religious scholars, and historians alike.
The Wicker Man will be released in August, and The Exorcist Effect in October.
Last weekend my wife and I binge watched a series from Amazon Prime. It was OUTER RANGE, a Western/science fiction combination that I heard about in watching one of the stars, Josh Brolin, as he ate through the hot sauce on wings challenge on the show HOT ONES. I’m a fan of Brolin’s work, and while I was skeptical of the genre combination, the program works. It originally started airing in October 2022 and ran for eight episodes.
The basic plot involves a family with relationship issues living on their ranch in Wyoming. There is the usual land dispute with a neighboring ranch found in many Westerns, but what makes this program unique comes by way of the science fiction element. One day while searching for some missing cattle, Josh Brolin’s character (Royal Abbott) discovers a mysterious hole in the ground. He drops something in it to test it’s depth, and it seems very deep, if not endless. To add even more intrigue, there is a layer of dark mist over the surface of it, and it creates a strange reaction to mind and body when one’s hand is put into it.
Beyond the interesting narrative and the drama of human conflict, the series surprised me with its frequent, indeed integral incorporation of religious questions and deep doubt in regards to the same. Repeatedly the characters wonder whether their lives could have been different or whether they are just living out the lives that fate has handed them. The Abbott family identifies as Christian, and attends weekly service in a small church, but Royal sits in the back reading a newspaper. This is an early indication that Royal’s character wrestles with his faith, and has perhaps even lost it due to harsh experiences in life. And they keep mounting over the course of the series. I have included a video clip from the series with this post. It is the regular evening prayer for the Abbott family around the dinner table. Something unusual happens this night in that after an especially challenging set of circumstances, rather than Royal’s wife offering the prayer, Royal asks if he can do it. The way he prays is honest, angry, and gut-wrenching.
I read a Christian author’s review of the series and it was this doubt and existential angst that the author found most off-putting and unattractive in a series dealing with religion. I must be cut from different cloth. I found the way in which religious commitments clash with real life challenges to be one of the more honest and refreshing treatments of religion in post-Christendom American entertainment. I wonder if the Christian author who decried the depiction of religion and God in OUTER RANGE has read much by way of the anger and lament in the Psalms?
