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SCARED SACRED
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Religion has shaped the history of mankind. With SCARED SACRED, House of Leaves hopes to incite and further discussion surrounding the influence of religion upon popular culture via the cinematic church of horror.
The book developed in response to the recent reclaiming of supernatural and religious themes in mainstream horror cinema. This is reflected thematically; the book is divided into four sections to provide a well-rounded analysis of world religions, idolatry and worship.
SCARED SACRED is edited by Rebecca Booth (author of The Devil Rides Out [Auteur Publishing]), Erin Thompson (owner of The Backseat Driver Reviews), and RF Todd (Managing Director of House of Leaves).
The cover is based on original artwork from illustrator Jeremy Thompson, which takes inspiration from the designs of the late Simon Sayce. With digital artwork by John Sowder, and design layout by Euan Monaghan, the cover will be foiled in silver. Each chapter will also be accompanied by original illustrations from illustrator John Sowder in a beautiful Medieval wood-cut style.
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SCARED SACRED is due for release early in 2019 and the purpose of this crowdfunding campaign is to allow supporters to pre-order a first edition copy of the book. The first edition run is limited to 500 copies, with only 100 copies of the hardback edition (including an alternative cover foiled in copper) available. Each book will be accompanied by a numbered certificate.
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Contents
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Introduction
Idolatry, Religion and Worship in the Horror Film
by Professor Douglas E Cowan
Section One: Christianity
Onward Christian Soldiers: Eyes of Believers in The Conjuring (2013) and The Conjuring 2 (2016)
by Alexandra West
This chapter focuses on the creeping conservative values at play within James Wan's The Conjuring (2013) and The Conjuring 2 (2016). Utilizing the controversial real-life figures of Ed and Lorraine Warren as the protagonists of both films, Wan has sanitized their history in favor of upholding patriarchal Christian values. The chapter examines filmic nostalgia, conservative Christian values, and how these elements combine in an attempt to make horror great again.
“I don't know if we've got the heir to the Thorn millions here or Jesus Christ himself”: Catholicism, Satanism and the Role of Predestination in The Omen (1976)
by Dr LMK Sheppard
This chapter focuses on how The Omen (1976), as a representation of New Hollywood Horror, acts as both an agent within this socio-political environment and a disseminator of its message and values. In addressing cultural and religious neo-liberal and conservative debates—involving the role of free will and its opposites, determinism and predestination—the film in many ways challenges this liberty of choice. Like the culture out of which it arises, The Omen may be regarded as being not only conflictual, but also conflicted.
As God is My Witness: Martyrdom in Modern-Day Horror
by Andrea Subissati
The Exorcism of Emily Rose (2005) and Martyrs (2008) tackle the subject of modern-day martyrdom in diverse and theologically nuanced ways. This chapter seeks to unpack the convoluted term “martyr” by drawing from its etymological origins, and tracing its redefinition across history. Culminating in an examination of both films—with an aim to isolate the differing conceptions of martyrdom and the resulting cultural impact of those conceptions—this analysis illustrates that the figure of the martyr is far from antiquated, no matter how far removed from its theological origin.
The Last Sin Eater: The Hellraiser Mythology as the Hell Priest’s Purgatory
by Rebecca Booth
This chapter charts the development of the Hell Priest—often referred to as “Pinhead”—across the Hellraiser mythology. The portrayal of the figure in Clive Barker’s seminal novella The Hellbound Heart (1986) is analysed against further literary instalments, as well as the cinematic translation of the character, and its further evolution across popular culture. As an inversion of the traditional mediatory role of the clergyman, the Hell Priest is truly the last sin eater; he does not absolve sin, but feeds upon it as he condemns and collects souls. Taking into account the character’s human backstory in relation to several tangential storylines within the franchise, the Hellraiser mythology is explored as the Hell Priest’s own purgatory.
Section Two: Mysticism
Needful Things: Buddhism and Gender in Onibaba (1964) and Nang Nak (1999)
by Erin Thompson
This chapter explores the gender politics and social customs of spiritual fulfilment and balance amid the background of the religious traditions within Buddhism in Onibaba (1964) and Nang Nak (1999). The films present the disconcerting theme of a female practitioner requiring a male counterpart to achieve full spiritual potential, highlighting and reinforcing a combination of Buddhist perceptions and principles in regards to gender inequality through the devices of the vengeful spirit and the repentant religious.
Between Two Worlds: Semitic Soul Transmigration in The Dybbuk (1937) and Demon (2015)
by Rebecca Booth
Despite references to the dybbuk, a once-human spirit that possesses the living to accomplish a malicious goal, in 16th century Jewish writings, the figure was not embraced by popular culture until Shloyme Zanvl Rappoport published his play The Dybbuk in 1918, under the pseudonym S. Ansky. Drawing on Jewish folklore, this chapter compares the figure in The Dybbuk (1937), Michał Waszyński’s classic cinematic adaptation of Ansky’s play, against Marcin Wrona’s Demon (2015), exploring the resonation of soul transfiguration in each. In particular, the chapter examines the marital unions in both films as a site of tension between traditional and cultural values, and in terms of gender politics and how the past informs the present—even when buried.
From the Stake to the Sanitarium: Taming the Unruly Feminine in Häxan (1922) and Antichrist (2009)
by Valeska Griffiths
Few historical figures are as evocative as that of the witch. Social discourses surrounding the figure have provided long-lasting ramifications, and with the shift from the Medieval to the Modern era, the figure of the witch has also undergone an evolution. Through examining Benjamin Christensen's Häxan (1922) and Lars von Trier's Antichrist (2009), the lineage from witch to hysteric, and the psychic harm that these discourses have inflicted—and continue to inflict—can be traced and understood.
Monstrous Realism: Irreligious Religion in Lovecraft’s Cosmic Horror
by Anya Stanley
H. P. Lovecraft’s works are largely referential to and focused around a constructed religion from the depths of his own mind. Commonly termed the Cthulhu Mythos by later contributors to this universe, this observational framework is rooted in non-spirituality and a matter-of-fact delivery of revelations concerning multiple amoral entities that humans can barely behold, let alone understand. When taken contextually with Lovecraft’s unashamed condemnations of organized religion, the Cthulhu Mythos is a bleak reflection of his own spiritual attitude towards both faith and contemporary advancements in science. Further, the cosmic horror popularized by literary pillars such as Lovecraft, Arthur Machen, and R. W. Chambers mirrors the common fears of atheists, including ultimate human insignificance, hyperawareness of frailty and mortality, and the great dark void itself. This chapter references many films that are both Lovecraft-tangential and direct adaptations of his work, with a central focus on From Beyond (1986) and In the Mouth of Madness (1994) for their emphasis on (anti)religious themes. Amid all of the horror films that find monstrosity in religion and zealotry, cosmicism's lack of belief is a jarring contrast that is nonetheless terrifying in its unflinching amorality, hence its unwavering popularity in the horror genre. This chapter, in its atheistic focus, serves to provide a counterbalance to the various religious lens being applied to horror cinema in SCARED SACRED.
Section Three: Occultism
“Not everything that moves, breathes and talks is alive”: Christianity, Korean Shamanism and Reincarnation in Whispering Corridors (1998) and The Wailing (2016)
by Frazer Lee
This chapter covers the conflict between Christianity and Korean Shamanism via the subject of reincarnation. Park Ki-hyung’s Whispering Corridors (1998) positions the artistic freedom of post-dictatorship South Korea and its differing religious belief systems against increasingly brutal educational regimes, using reincarnation as both a plot device and a thematic note of hope for the emotionally and physically abused/abusing characters. Na Hong-jin’s The Wailing (2016) reflects Christian guilt through the lens of Korean horror, positioning Korean Shamanism as an occult threat by spreading evil to seemingly utopian rural areas via the shaman and accomplice, a direct mirror of the Catholic priest and his acolyte. In viewing how the notion of reincarnation explodes the South Korean obsession with Christianity, this chapter also explores how the horror film reflects the tension between these two belief systems, each competing for dominance in both the spiritual and socio-political realms.
Deprogramming the Program: The Image and Anxiety of the Religious Cult in the Made for Television Film
by Amanda Reyes
As a tool for mass consumption, the television film is at its most influential when working with images of domestic spaces and family. Concentrating on the telefilms Can Ellen Be Saved (1974) and Blinded by the Light (1980), this chapter explores the ways in which cults are portrayed as symbols of the anxieties that arose during an era of rising divorce rates and broken homes, and how the made-for-television film employs those images as a tool to reinforce the nuclear family, which is treated as the ultimate iconography of a higher power.
I Believe in Death: William Peter Blatty and the Horror of Faith in The Ninth Configuration (1980) and Exorcist III (1990)
by Samm Deighan
Though William Peter Blatty achieved fame with the 1973 adaptation of his novel, The Exorcist, his work as a director has long been overlooked. This chapter will primarily focus on the two films Blatty helmed: The Ninth Configuration (1980) and Exorcist III (1990), both adaptations of his own novels that explore themes of madness, violence and horror. These films explore the inevitable consequences when men of belief and faith confront evil within the nihilistic modern world, whether that manifests as satanic possession, serial murder, or insanity as the result of trauma.
The Last Temptation: Demonic Warfare and Supernatural Sacrifice in The Amityville Horror (1979) and When the Lights Went Out (2012)
by Erin Thompson
The anxiety-inducing topic of demonic invasion and possession persists across world cultures. After a resurgence of interest in the 1960s to 1980s, tales of possession and supernatural occurrences began to manifest in cinema. In particular, The Amityville Horror (1979) and When the Lights Went Out (2012) portray alleged real-life events that chart a pattern of supernatural disturbance, possession and affirmation of faith. This chapter bridges the two films by means of the Biblical notion of temptation and sacrifice, as demonstrated in the tale of Abraham in the Book of Genesis.
Section Four: Beyond Belief
A Taste for Blood and Truth: Bill Gunn's Ganja and Hess (1973)
by Dr John Cussans
Often discussed as an audacious subversion of the Blaxploitation genre by a maverick Black director, Bill Gunn’s 1973 “vampire film” Ganja and Hess is a complex meditation on the psychology of race, religion, sex, class and addiction in 1970’s America. The narrative is framed as a conflict between the redemptive power of the blood of Christ offered by the Black Church, and a fantasy of ancestral African sovereignty represented by the Myrthian blood-cult. The film is also an important vehicle for Gunn’s personal experiences as a Black artist struggling for creative autonomy and critical recognition in a white-run culture industry, and living with the damaging psychological consequences of existing between seemingly incompatible worlds. Drawing specifically on the Cameroonian philosopher Achille Mbembe’s writings on Blackness, this chapter discusses the religious and moral meanings of Ganja and Hess from the perspectives of its lead characters and the lives of the actors who played them.
Zoolatry and the Feline Fatale: Obsession, Femininity and Revenge in Cat People (1942) and Kuroneko (1968)
by Joseph Dwyer
In Jacques Tourneur’s production of Cat People (1942), a woman is ominously cursed by her feline ancestors. In Kaneto Shindo's Kuroneko (1968), supernatural cats act as avengers of women who are violated and murdered. Much like the femme, the feline fatale is a simultaneously lauded and condemned figure across cultural and historical boundaries. These two films incorporate elements of feline shape-shifting within their cultural mythos, which belie the fabricated reality of religions and other belief systems like psychoanalysis; folklore—including cinema—is revealed to be as equally important as religion.
Faith and Idolatry in the Abrahamic Religions: Security through Symbols in Seytan (1974) and Jinn (2014)
by Neil Gravino
The use of idolatry in defense against otherworldly horrors has cemented itself as one of the most common tropes of the horror genre. Often, idolatry takes the form of the placement of faith—bordering on superstition—on symbols of a religious nature, such as a cross or statue. This version of idolatry often renders itself ineffective, a narrative device used to raise the stakes and present evil as a credible threat. This chapter frames idolatry as a sinful act, and its accompanying sense of protection ineffectual, within the Abrahamic belief systems portrayed in Seytan (1974) and Jinn (2014). The films argue that placing faith in symbols rather than Abrahamic teachings and beliefs can leave one vulnerable to evil, a loaded reading in today’s socio-political climate. In both films, idolatry is replaced by physical action, presenting evil as a pervasive threat that believers must be constantly ready to confront, regardless of faith.
Prophetic Voices and the Lethal Hand of the God: The Religious Zealotry of Frailty (2001)
by Chris Hallock
This chapter examines Bill Paxton's Frailty (2001), a psychological horror film steeped in the southern gothic tradition. Surveying how the film's non-linear framework enhances its religious and familial themes, it also studies the director's ambiguous approach to the material, ensnaring the story's tightly-knit family in the disastrous clutches of religious zealotry, murderous fanaticism and toxic patriarchy.
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Funding
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Our target for the project is £6325. This amount will cover everything from writer fees to artwork to printing costs. One of the founding principles of House of Leaves is that contributors are duly paid for their services, and this project is the foundation of our sustainable business model. A breakdown of funding allocation is below:
Printing: 33%
Writer fees: 30%
Admin fees: 17%
Marketing: 12%
Artwork: 8%
If our target amount is not reached during the crowdfunding campaign, contributors will be paid as per contractual agreements, claimed rewards will be delivered, and the book will still be printed. However, the release date may be delayed. Your support in reaching our goal will ensure that the project is delivered as per the current schedule.
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Rewards
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Thanks to our wonderful partners, we can offer some very special rewards to help reach our target. These include:
Sacred Terror
Professor Douglas E. Cowan—theologian and author of the introduction to SCARED SACRED—has written several books examining religion through the lens of popular culture. In particular, Professor Cowan’s Sacred Terror: Religion and Horror on the Silver Screen (Baylor University Press, 2016) charts the history of the religious horror film, exploring fears specific to religion and horror. A must-read for fans of horror cinema, and the perfect complement to SCARED SACRED.
Original themed poster art
House of Leaves presents a series of four collectible posters crafted by illustrator John Sowder, each a mash-up based on two films from each themed section of the book. The posters can be purchased individually or as a set.
Alternative cover art
The limited edition hardback features alternative cover art, which will be foiled in copper.
Grimmfest 2018, Manchester, UK
Grimmfest remains one of the leading festivals in the United Kingdom, covering everything from horror to science fiction to cult films. Located in Manchester, UK, the festival runs from 4 to 7 October 2018, with special guest Barbara Crampton headlining this year.
2018 also marks the festival’s 10th anniversary; to celebrate, Grimmfest recently announced the formation of the Grimmfest Awards. Celebrating and promoting excellence in genre filmmaking, the Grimmfest Awards are led by an all-female jury of genre critics, filmmakers and industry specialists. Two members of the panel will be familiar faces, as they are both contributors to SCARED SACRED: critic Anya Stanley and executive editor of Rue Morgue, Andrea Subissati. House of Leaves has partnered with Grimmfest to offer six day tickets to the festival on Saturday 6 October 2018. For updates on the 2018 festival, please visit: http://grimmfest.com/grimmupnorth/the-festival/.
London Horror Festival
Since 2011, the London Horror Festival has delighted and scared audiences by championing an eclectic programme of horror theatre, from puppetry adaptations of literary classics and midnight mind-reading to immersive interactive experiences and LGBTQ cabaret.
Started by Stewart Pringle and Liam Welton of Theatre of the Damned in response to the growing desire by audiences for horror theatre, it has grown from it’s humble beginnings to become the UK’s original and largest festival of horror in the live performing arts. By fostering new talent at the same time as nurturing the constantly growing horror theatre scene, it is planning its biggest programme yet in its 8th year. With performances from Brother Wolf, The Maydays, The Twins Macabre and many more it is certainly going to be a terrifying and unmissable event. Tickets can full schedule can be seen at www.londonhorrorfestival.co.uk.
Dryden Theatre, Rochester, New York
The 500-seat Dryden Theatre is the premier exhibition space for the art of cinema, as championed and interpreted by the George Eastman Museum. Presenting film screenings every day of the week, the Dryden is devoted to showing all films in their original formats, thus honoring and reproducing their historical—and aesthetically supreme—modes of exhibition. House of Leaves is delighted to offer 10 tickets to carefully curated screenings, courtesy of the Dryden Theatre. For more information, please visit: https://www.eastman.org/dryden-theatre.
Personalized horror-fied zombie portraits
Courtesy of illustrator Jeremy Thompson, House of Leaves is offering personalized zombie portraits for supporters of the campaign based in US and Canada. Simply send a desired photo and you will receive a digital and hard copy original pencil sketch of you and/or a loved one as one of the undead.
Boston Underground Film Festival (BUFF)
For over twenty years, the Boston Underground Film Festival (BUFF) has brought the finest in vanguard filmmaking from all over the world to New England cinephiles. BUFF celebrates unconventional stories, idiosyncratic voices, fever dreams, nightmarish visions, and all manner of cinematic forms, in service of an audience ravenous for an annual sensory bacchanalia from beyond the mainstream. House of Leaves has partnered with BUFF to offer a limited number of festival passes for 2019.
30 East Drive
When the Lights Went Out (2012) is featured in a chapter covering demonic warfare and supernatural sacrifice. It is based on alleged paranormal events experienced in 1974 by the Pritchard family at 30 East Drive in Pontefract, West Yorkshire, UK. The paranormal activity has been attributed to the infamous Black Monk of Pontefract, and the house has gained notoriety as one of the most haunted houses in Britain. Producer Bil Bungay bought the house at 30 East Drive shortly after production wrapped on When the Lights Went Out and opened it up to visitors as part of the film's promotional campaign. He was surprised to find that paranormal groups and interested individuals recorded an abundance of alleged ghostly activity—all of which you can find on the website: http://www.30eastdrive.com/. House of Leaves is very excited to offer a group booking for you and three friends to stay overnight at one of the most notorious haunted locations in the UK -- if you dare...
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