I didn’t spot this in time for Halloween, but a new animation from Cyriak has jumped out at us. I guess it’s his 2018 take on the Skeleton Dance from 1929 I mentioned earlier. Compare and contrast below!
The spirit photographs of William Hope Known as “spirit photographs”, they were taken by a controversial medium called William Hope. Born in 1863 in Crewe, Hope started his working life as a carpenter, but in 1905 became interested in spirit photography after capturing the supposed image of a ghost while photographing a friend. He went on to found and lead a group of six spirit photographers known as the Crewe Circle. Following World War I, support for the group, and demand for its services, grew as the grieving relatives of those lost to the war sought a means of contacting their loved ones.
He was later exposed as a fraudster, but could count Sir Arthur Conan Doyle as one of his supporters, so there you go.
What can a linguist learn from a gravestone? The key running theme of gravestone inscriptions is that they are for the living, and even for a more specific task: they reaffirm and reiterate membership in a group, and the beliefs that are part of the culture of that group. This does not necessarily mean that they are particularly informative about the life of the specific deceased, but they are full of useful, sometimes subtle cues about the community the deceased belonged to, and what they valued.
And what movies they liked?
The Mummy: the story of the world’s most expensive movie poster Auction house Sotheby’s is currently accepting bids for one of three remaining original posters of 1932’s The Mummy. It is expected to sell for somewhere between $1-1.5m, making it the world’s most expensive movie poster. It’s a scary amount of money.
I’m sure audiences at the time would have been terrified by that film, but could we say the same about this one, from Méliès? I don’t think so.
The Infernal Cauldron (1903) Short film by Georges Méliès, released through his Star Film Company, featuring demons, flames, spectres, and a brilliant array of the film-maker’s usual arsenal of tricks. As Wikipedia sums up: “In a Renaissance chamber decorated with devilish faces and a warped coat of arms, a gleeful Satan throws three human victims into a cauldron, which spews out flames. The victims rise from the cauldron as nebulous ghosts, and then turn into fireballs. The fireballs multiply and pursue Satan around the chamber. Finally Satan himself leaps into the infernal cauldron, which gives off a final burst of flame.” Enjoy!
And I can’t imagine this scaring anyone either. Sounds good, though.
So let’s end with an exploration of that devil’s interval, and how it moved from the Classical and Romantic eras into the mainstream.
Spooky music During the 19th century, composers like Franz Liszt and Richard Wagner cracked the code of creepiness. The sonic dread they pioneered involved two key ingredients that horror movies and metal bands still use today: a forbidden sequence of notes known as “Satan in music,” and a spooky little ditty that Gregorian monks sang about the apocalypse.