The Introduction lays out the conceptual goals of this monograph, as well as clarifying the way the terms “modern” and “supernatural” are to be used.


Spiritualist Practice Screen Practice Occult Exploration Early Cinema Psychical Research 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

Works Cited

  1. Allen, Milton. “Electrical Exhibition at Philadelphia.” Light 4.205 (1884): 512.Google Scholar
  2. Anderson, Robert. “Defining the Supernatural in Iceland.” Anthropological Forum 13.2 (2003): 125–30.Google Scholar
  3. Bell, Karl. The Magical Imagination: Magic and Modernity in Urban England 1780–1914. Cambridge: Cambridge University Press, 2012.Google Scholar
  4. Berman, Marshall. All That Is Solid Melts into Air: The Experience of Modernity. London: Verso, 1983.Google Scholar
  5. Blum, Deborah. Ghost Hunters: William James and the Search for Scientific Proof of Life After Death. New York: Penguin, 2006.Google Scholar
  6. Blümlinger, Christa. “Lumière, the Train and the Avant-garde.” The Cinema of Attractions Reloaded. Ed. Wanda Stauven. Amsterdam: University of Amsterdam Press, 2006. 245–64.Google Scholar
  7. Bordwell, David. On the History of Film Style. Cambridge: Harvard University Press, 1997.Google Scholar
  8. Bottomore, Stephen. “The Panicking Audience? Early Cinema and the ‘Train Effect’.” Historical Journal of Film, Radio and Television 19.2 (1999): 177–216.Google Scholar
  9. Briggs, Julia. Night Visitors: The Rise and Fall of the English Ghost Story. London: Faber, 1977.Google Scholar
  10. Brower, M. Brady. Unruly Spirits: The Science of Psychic Phenomena in Modern France. Urbana: University of Chicago Press, 2010.Google Scholar
  11. Burch, Noël. Life to Those Shadows. Berkeley: University of California Press, 1990.Google Scholar
  12. Butler, Alison. Victorian Occultism and the Making of Magic. Houndmills, Basingstoke, Hants: Palgrave Macmillan, 2011.Google Scholar
  13. Calinescu, Matei. Five Faces of Modernity: Modernism, Avant-Garde, Decadence, Kitsch, Postmodernism. Durham, NC: Duke University Press, 1987.Google Scholar
  14. Cameron, James. “Effects Scene: Technology and Magic.” Cinefex 51 (1992): 5–7.Google Scholar
  15. Carroll, Noël. “Modernity and the Plasticity of Perception.” The Journal of Aesthetics and Art Criticism 59.1 (2001): 11–7.Google Scholar
  16. Castle, Terry. The Female Thermometer: 18th Century and the Invention of the Uncanny. New York: Oxford University Press, 1995.Google Scholar
  17. Charney, Leo and Vanessa R. Schwartz, eds. Cinema and the Invention of Modern Life. Berkeley: University of California Press, 1995.Google Scholar
  18. Christie, Ian. The Last Machine: Early Cinema and the Birth of the Modern World. London: British Film Institute/BBC Educational Developments, 1994.Google Scholar
  19. Christie, Ian. “Moving-Picture Media and Modernity: Taking Intermediate and Ephemeral Forms Seriously.” Comparative Critic Studies 6.3 (2009): 299–318.Google Scholar
  20. Clark, T.J. The Painting of Modern Life: Paris in the Art of Manet and His Followers. Princeton: Princeton University Press, 1984.Google Scholar
  21. Clarke, Arthur C. Profiles of Magic: An Inquiry into the Limits of the Possible. London: Orion, 1962.Google Scholar
  22. Connor, Steven. “The Machine in the Ghost: Spiritualism, Technology and the ‘Direct Voice.’” Ghosts: Deconstruction, Psychoanalysis, History. Eds. Peter Buse and Andrew Stott. New York: St. Martin’s Press, 1999. 203–25.Google Scholar
  23. Crary, Jonathan. Techniques of the Observer: On Vision and Modernity in the 19th Century. Cambridge, MA: The MIT Press, 1992.Google Scholar
  24. Daly, Nicholas. Modernism, Romance and the Fin de Siècle: Popular Fiction and British Culture. Cambridge: Cambridge University Press, 1999.Google Scholar
  25. Davis, Erik. Techgnosis: Myth, Magic and Mysticism in the Age of Information. New York: Harmony, 1998.Google Scholar
  26. Dickson, W.K.L. and Antonia Dickson. History of the Kinematograph, Kinetoscope and Kinetophonograph. New York: Arno, 1895.Google Scholar
  27. Doane, Mary Ann. The Emergence of Cinematic Time: Modernity, Contingency, the Archive. Cambridge, MA: Harvard University Press, 2002.Google Scholar
  28. Doane, Mary Ann. “Information, Crisis, Catastrophe.” Logic of Television: Essays in Cultural Criticism. Ed. Patricia Mellencamp. Bloomington: Indiana University Press, 1990. 222–39.Google Scholar
  29. Dolar, Mladen. “‘I Shall Be with You on Your Wedding-Night’: Lacan and the Uncanny.” October 58 (1991): 5–23.Google Scholar
  30. Drury, Nevill. Stealing Fire from Heaven: The Rise of Modern Western Magic. Oxford: Oxford University Press, 2011.Google Scholar
  31. During, Simon. Modern Enchantments: The Cultural Power of Secular Magic. Cambridge: Harvard University Press, 2002.Google Scholar
  32. Eggleston, Thomas. “Is He Not a Medium?” Banner of Light (May 2, 1896): 1.Google Scholar
  33. Elsaesser, Thomas. “Archaeologies of Interactivity: Early Cinema, Narrative and Spectatorship.” Film 1900: Technology, Perception, Culture. Eds. Annemone Ligensa and Klaus Kreimeier. New Barnet, Herts: John Libbey Publishing, 2009. 9–22.Google Scholar
  34. Evans, Nicola Jean. “Undoing the Magic? DVD Extras and the Pleasure Behind the Scenes.” Continuum: Journal of Media & Cultural Studies 24.4 (August 2010): 587–600.Google Scholar
  35. Finucane, R.C. Appearances of the Dead: A Cultural History of Ghosts. London: Junction Books, 1982.Google Scholar
  36. Foster, Paul. “Kingdom of Shadows: Fin-de-siècle Gothic and Early Cinema.” Monstrous Media/Spectral Subjects: Imaging Gothic from the Nineteenth Century to the Present. Eds. Fred Botting and Catherine Spooner. Manchester: Manchester University Press, 2015. 29–41.Google Scholar
  37. Friedberg, Anne. Window Shopping: Cinema and the Postmodern. Berkeley: University of California Press, 1993.Google Scholar
  38. Furstenau, Marc and Kerstin Hasslöcher. “Cinema/Modernism/Modernity: Towards an Archaeology of the Cinema.” European Journal for Semiotic Studies 6.1–2 (1994): 253–305.Google Scholar
  39. Gorky, Maxim. “A review of the Lumière programme at the Nizhni-Novgorod Fair,” as printed in the Nizhegorodski listok, newspaper, July 4, 1896, and signed “I.M. Pacatus.” Appendix 3 to Jay Leyda, A History of the Russian and Soviet Film. London: Unwin House, 1960. 407–9.Google Scholar
  40. Grove, Allen W. “Röntgen’s Ghosts: Photography, X-rays and the Victorian Imagination.” Literature and Medicine 16.2 (Fall 1997): 141–73.Google Scholar
  41. Gunn, Joshua. Modern Occult Rhetoric: Mass Media and the Drama of Secrecy in the Twentieth Century. Tuscaloosa: University of Alabama Press, 2011.Google Scholar
  42. Gunning, Tom. “An Aesthetic of Astonishment: Early Film and the (In)Credulous Spectator.” Viewing Positions: Ways of Seeing Film. Ed. Linda Williams. New Brunswick, NJ: Rutgers University Press, 1995b. 114–33.Google Scholar
  43. Gunning, Tom. “The Cinema of Attractions: Early Film, Its Spectator and the Avant-Garde.” Early Cinema: Space, Frame, Narrative. Eds. Thomas Elsaesser and Adam Barker. London: British Film Institute, 1990. 56–62.Google Scholar
  44. Gunning, Tom. “Modernity and Cinema: A Culture of Shocks and Flows.” Cinema and Modernity. Ed. Murray Pomerance. New Brunswick, NJ: Rutgers University Press, 2006. 297–315.Google Scholar
  45. Gunning, Tom. “Phantom Images and Modern Manifestations: Spirit Photography, Magic Theatre, Trick Films and Photography’s Uncanny.” Fugitive Images: From Photography to Video. Ed. Patrice Petro. Bloomington: Indiana University Press, 1995a. 42–71.Google Scholar
  46. Hansen, Miriam. Babel and Babylon: Spectatorship in American Silent Film. Cambridge, MA: Harvard University Press, 1991.Google Scholar
  47. Hansen, Miriam. “The Mass Production of the Senses: Classical Cinema as Vernacular Modernism.” Modernism/Modernity 6.2 (1999): 59–77.Google Scholar
  48. Hurley, Kelly. The Gothic Body: Sexuality, Materialism, and Degeneration at the Fin de Siecle. Cambridge: Cambridge University Press, 1996.Google Scholar
  49. Johnson, V.E. “The Kinematograph from a Scientific Point of View.” In the Kingdom of Shadows: A Companion to Early Cinema. Eds. Colin Harding and Simon Popple. London: Cygnus Press, 1996. 25.Google Scholar
  50. Jolly, Martyn. Faces of the Dead: The Belief in Spirit Photography. London: British Library, 2006.Google Scholar
  51. Keil, Charlie. “‘To Here from Modernity’: Style, Historiography, and Transitional Cinema.” American Cinema’s Transitional Era: Audiences, Institutions, Practices. Ed. Charlie Keil and Shelley Stamp. Berkeley: University of California Press, 2004. 51–75.Google Scholar
  52. Kern, Stephen. The Culture of Time and Space 1880–1918. Cambridge, MA: Harvard University Press, 1983.Google Scholar
  53. Kirby, Lynne. Parallel Tracks: The Railroad and Silent Cinema. Durham: Duke University Press, 1997.Google Scholar
  54. Klass, Morton. Ordered Universes: Approaches to the Anthropology of Religion. Boulder: Westview Press, 1995.Google Scholar
  55. Knight, David. The Age of Science: The Scientific World-view in the Nineteenth Century. Oxford: Blackwell, 1986.Google Scholar
  56. Lachapelle, Sofie. Conjuring Science: A History of Scientific Entertainment and Stage Magic in Modern France. Houndmills, Basingstoke, Hants: Palgrave Macmillan, 2015.Google Scholar
  57. Lachapelle, Sofie. Investigating the Supernatural: From Spiritism and Occultism to Psychical Research and Metaphysics in France, 1853–1931. Baltimore: The Johns Hopkins University Press, 2011.Google Scholar
  58. Latour, Bruno. We Have Never Been Modern. Cambridge, MA: Harvard University Press, 1993.Google Scholar
  59. Limon, John. The Place of Fiction in the Time of Science: A Disciplinary History of American Writing. New York: Cambridge University Press, 1990.Google Scholar
  60. Loiperdinger, Martin. “Lumière’s Arrival of a Train: Cinema’s Founding Myth.” The Moving Image 4.1 (Spring 2004): 89–118.Google Scholar
  61. Luckhurst, Roger. “Introduction.” Late Victorian Gothic Tales. Ed. Roger Luckhurst. Oxford: Oxford University Press, 2005. ix–xxxi.Google Scholar
  62. Luckhurst, Roger. “W.T. Stead’s Occult Economies.” Culture and Science in the Nineteenth-century Media. Eds. Louise Henson, Geoffrey Cantor, Goean Dawson, Richard Noakes, Sally Shuttleworth and Jonathan R. Topham. Aldershot, Hants: Ashgate, 2004. 125–35.Google Scholar
  63. Marvin, Carolyn. When Old Technologies Were New: Thinking about Electric Communication in the Late Nineteenth Century. New York: University of Oxford Press, 1988.Google Scholar
  64. McEwan, Cheryl. “A Very Modern Ghost: Postcolonialism and the Politics of Enchantment.” Environment and Planning D: Society and Space 26 (2008): 29–46.Google Scholar
  65. Morrisson, Mark S. Modern Alchemy: Occultism and the Emergence of Atomic Theory. Oxford: Oxford University Press, 2007.Google Scholar
  66. Murphet, Julian. “Film and (as) Modernity.” The SAGE Handbook of Film Studies. Eds. James Donald and Michael Renov. Los Angeles: Sage, 2008. 343–60.Google Scholar
  67. Noakes, Richard. “Spiritualism, Science and the Supernatural in Mid-Victorian Britain.” The Victorian Supernatural. Eds. Nicola Brown, Carolyn Burdett and Pamela Thurschwell. Cambridge: Cambridge University Press, 2004. 23–43.Google Scholar
  68. Owen, Alex. The Place of Enchantment: British Occultism and the Culture of the Modern. Chicago: University of Chicago Press, 2004.Google Scholar
  69. Pels, Peter. “Introduction: Magic and Modernity.” Magic and Modernity: Interfaces of Revelation and Concealment. Eds. Birgit Meyer and Peter Pels. Stanford: Stanford University Press, 2003. 1–38.Google Scholar
  70. Peters, John Durham. Speaking into the Air: A History of the Idea of Communication. Chicago: University of Chicago Press, 1999.Google Scholar
  71. Rossell, Deac. Living Pictures: The Origins of the Movies. Albany: SUNY Press, 1998.Google Scholar
  72. Sausman, Justin. “The Democratisation of the Spook: W.T. Stead and the Invention of Public Occultism.” W.T. Stead: Newspaper Revolutionary. Eds. Laurel Brake, Ed King, Roger Luckhurst and James Mussell. London: The British Library, 2012. 149–165.Google Scholar
  73. Schivelbusch, Wolfgang. The Railway Journey: The Industrialization of Time and Space in the 19th Century. Berkeley: University of California Press, 1986.Google Scholar
  74. Schwartz, Vanessa. Spectacular Realities: Early Mass Culture in Fin-de-siècle Paris. Berkeley: University of California Press, 1998.Google Scholar
  75. Sconce, Jeffrey. Haunted Media: Electronic Presence from Telegraphy to Television. Durham: Duke University Press, 2000.Google Scholar
  76. Sered, Susan. “Afterword: Lexicons of the Supernatural.” Anthropological Forum 13.2 (2003): 213–8.Google Scholar
  77. Singer, Ben. “The Ambimodernity of Early Cinema: Problems and Paradoxes in the Film-and-Modernity Discourse.” Film 1900: Technology, Perception, Culture. Eds. Annemone Ligensa and Klaus Kreimeier. New Barnet, Herts: John Libbey, 2009. 37–52.Google Scholar
  78. Singer, Ben. Melodrama and Modernity: Early Sensational Cinema and Its Contexts. New York: Columbia University Press, 2001.Google Scholar
  79. Solomon, Matthew. Disappearing Tricks: Silent Film, Houdini, and the New Magic of the Twentieth Century. Iowa City: University of Iowa Press, 2010.Google Scholar
  80. Stead, W.T. “Suggestions from Science for Psychic Students: Useful Analogies from Recent Discoveries and Inventions.” Borderland 3.4 (October 1896): 400–11.Google Scholar
  81. Swatos, William H. “Spiritualism as a Religion of Science.” Social Compass 37.4 (1990): 471–82.Google Scholar
  82. Swingewood, Alan. Cultural Theory and the Problem of Modernity. New York: St. Martin’s Press, 1998.Google Scholar
  83. Sword, Helen. Ghostwriting Modernism. Ithaca: Cornell University Press, 2002.Google Scholar
  84. Thurschwell, Pamela. “Refusing to Give Up the Ghost: Some Thoughts on the Afterlife from Spirit Photography to Phantom Films.” The Disembodied Spirit. Brunswick, Maine: The Bowdon College Museum of Art, 2003. 20–31.Google Scholar
  85. Turvey, Malcolm. Doubting Vision: Film and the Revelationist Tradition. Oxford: Oxford University Press, 2008.Google Scholar
  86. Vanderbeke, Dirk. “‘Science Is Magic That Works’: The Return of Magic in Literature on Science.” Magic, Science, Technology and Literature. Eds. Jarmila Mildorf, Hans Ulrich Seeber and Martin Windisch. Berlin: LIT Verlag, 2006. 209–24.Google Scholar
  87. Warner, Marina. Phantasmagoria: Spirit Visions, Metaphors and Media into the Twenty-first Century. Oxford: Oxford University Press, 2006.Google Scholar
  88. Washington, Peter. Madame Blavatsky’s Baboon: A History of the Mystics, Mediums and Misfits Who Brought Spiritualism to America. New York: Schocken Books, 1995.Google Scholar
  89. Williams, Keith. H.G. Wells, Modernity and the Movies. Liverpool: Liverpool University Press, 2007.Google Scholar
  90. Williamson, Colin. Hidden in Plain Sight: An Archaeology of Magic and the Cinema. New Brunswick, NJ: Rutgers University Press, 2015.Google Scholar
  91. Wilson, Leigh. Modernism and Magic: Experiments with Spiritualism, Theosophy and the Occult. Edinburgh: Edinburgh University Press, 2013.Google Scholar

Copyright information

© The Author(s) 2017

Authors and Affiliations

  1. 1.CalgaryCanada

Personalised recommendations