The Scene of Haunting in Silent Adaptations of a Christmas Carol

Home , Ghost of Christmas Past, The Right to Be Happy

RCL — Revista de Comunicação e Linguagens Journal of Communication and Languages N.53 (2020) ISSN 2183-7198 - - 57 , o A Christmas que é expressa pela forma dos filmes. O artigo filmes. dos forma pela que é expressa , in which the ghosts are figures of authorship and authorship of figures the ghosts are , in which medium termina com considerações sobre a adaptação de 2009, de 2009, de a adaptação sobre considerações com termina rical” qualities of Charles Dickens’s classic classic Dickens’s of Charles qualities rical” Carol - further qual the It that articles of images. manipulators film silent-era the story’s into strongly over carry ities 1901, 1910, 1913 and (dated four of which adaptations, ex 1923)sense a for of examined medium awareness are on the remarks with form.It ends film through pressed - 2009 as a digital era-inheri Robert adaptation Zemeckis tendency. this reflexive to tor | medium | adaptation supernatural films | ghosts | Silent | reflexivity awareness “lan- qualidades das em favor artigo, argumenta-se Neste A de Christmas “fantasmagóricas” ou Carol térnicas” fi- são os fantasmas no qual Dickens Charles de clássico - Argumen imagens. de e manipuladores autoria de guras - visivelmen são qualidades ainda, que mesmas estas ta-se, do cinematográficas as adaptações para transportadas te 1901, 1910, (de quais das quatro período cinema mudo, do 1913 e 1923) uma consciência de em função analisadas são do This article argues for the “lanternic” or “phantasmago for argues This article — Resumo — Keywords — Abstract MURRAY LEEDER MURRAY University of Manitoba, Institute for the Humanities for Institute Manitoba, of University [email protected] A Cena da Assombração em Adaptações em Adaptações Assombração da A Cena Carol A Christmas de Mudas LEEDER MURRAY The Scene of Haunting in Silent in Silent SceneThe of Haunting Carol of A Christmas Adaptations RCL — Revista de Comunicação e Linguagens Journal of Communication and Languages N.53 (2020) ISSN 2183-7198

- 58 - | fan to say nothing of its broader influence nothing of its broader say to 1 It’s a Wonderful Life (2015, 80-114). Life The link between a Wonderful It’s How the Grinch Stole Christmas (1966), Christmas Stole name a just to Grinch the How ’s lasting success has to do with its ability to seamless to ability its with do to has success lasting ’s Robert Zemeckis, entendido como um filme da era digital da era Robert filme um como entendido Zemeckis, reflexiva. tendência desta que é herdeiro medium mudo | consciência | cinema do Adaptação | sobrenatural | reflexividade tasmas and is also, of course, a ghost story, and in that respect is both old- is both respect old- and in that a ghost story, is also, of course, A Christmas Carol , as L. Sandiford’s 2008 biography and its 2017 film adaptation would have it. would have and its 2017 film adaptation 2008 biography , as L. Sandiford’s A Christmas Carol , force de tour technical in an amazing offers, It in the story. ... performs role a dual Fantasy roots his own the miser rediscover to a non-Christian persuades ‘magic’ that Christmas linking this personal same time, at the self-discovery while, and soconversation, a effect Probably the single most popular secular Christmas story, A Christmas most popular the single secular story, Christmas Probably Carol 2 A Christmas Carol and Carol A Christmas the links between Gilbert develops Christmas stories and the supernatural goes far beyond Dickens and significantly predates it (Johnson 2015). To it 2015). predates (Johnson and significantly Dickens beyond far goes and the supernatural stories Christmas Last appear films like in Christmas with conspicuous elements frequency Christmas supernatural (2019); this day, see (2018, 335-94). Rosewarne episode “Tapestry,” nicknamed “A Q Carol” (Altman and Gross and Gross (Altman Q Carol” “A nicknamed (1987-94) Generation episode “Tapestry,” Next The Trek: E.g. the Star 1994, 78).

played a significant role in the Victorian refurbishment of Christmas as an occasion for as an Christmas of occasion refurbishment the in Victorian role a significant played (Golby function religious the holiday’s from unpinned somewhat humanism charitable Invented Who Man and Purdue 1986); as The is anointed Dickens that it is on this basis Christmas unwanted those like in Shakespeare, function rather ghosts Its and new-fashioned. modern- new under as it reflects though and advice, dispense who warnings visitors and the of the supernatural its blurring especially in of the supernatural, standings of Part mind. ly reconcile sacred and secular traditions, while also melding Gothic sensationalism Gothic sensationalism also melding while and secular traditions, sacred ly reconcile of the super - is its deployment this success to Critical sentimentality. and humanist Prickett: S. Writes natural. 2 1 MURRAY LEEDER MURRAY is one of the most adapted pieces of pieces is one ofmost adapted the Carol 1843 A Christmas novella Dickens’s Charles cultur - continual whose it a story call to ventures . One language English fiction in the in a number of on its adaptability depended has centuries two to close for al visibility - continu its and prose than other media to sensestranslation to both— amenability its adaptations dozen “official” The several contexts. of cultural a variety to ing relevance the unofficial ones, by outnumbered vastly are — Palavras-chave underpins later seasonal favourites like like seasonal favourites underpins later Carol A Christmas Surely on other media texts. (1946) Life a Wonderful It’s few. RCL — Revista de Comunicação e Linguagens Journal of Communication and Languages N.53 (2020) ISSN 2183-7198 - - - - 59 - chroni circulat- A Christmas , but it does not give much consideration to how how to consideration much , but it does not give 4 A Christmas Carol and Its Adaptations (2006) Adaptations Its and Carol A Christmas , especially, tend to display a kind of medium awareness of a kind of medium awareness display to tend , especially, and more generally of film form, that conveys those but themes conveys form, of film that generally and more 3 or any of the other supernatural Dickens stories like “Gabriel Grub,” “The Haunt Grub,” “Gabriel like stories Dickens of the other supernatural or any To this I would add that its cinematic incarnations permit magic of a third kind: permit kind: of magic a third incarnations cinematic its that add I would this To directly with universal social problems without any kind of divine intermediary that that of kind intermediary divine any without social problems universal with directly 60) 2005, (Prickett choice. might soften the stark Narration and Haunting and Narration has often Dickens claim. novel In some I am not making an especially respects, Its popularity not simply residing in its literary text, A Christmas in its literary residing popularity not simply Its Carol A Christmas Carol, see Chapman (2000). Carol, of A Christmas on adaptations more For The origins of the association between magic and cinematic special effects has been explored by scholars like like by scholars special has explored effects ofbeen The origins the association magic and cinematic between (2008). and North (2002) Pearson

ed Man,” “The Signalman,” etc., in which all of these devices are not only explicitly not only explicitly are all of these devices in which etc., “The Signalman,” ed Man,” cles these iterations near-exhaustively these iterations cles that ofspecial effects, that 3 4 LEEDER MURRAY been described as a highly “cinematic” author, not the least by Sergei Eisenstein in his Sergei by not the least author, been described as a highly “cinematic” ges describes Eisenstein literary Today.” and the Film Griffith “Dickens, 1944 essay - “phantasmagori “lanternic,” extensive the by facilitated are translations media such adapta silent that here I argue “proto-cinematic” or even of the story. cal” qualities tions of A Christmas Carol and in and shadow, substance and between past and present between status cinema’s be to but has tended story the original in present was that so a thread they amplify doing use these adaptations though that argue I familiarity. through overlooked and effaced 36) 2006, uncanny” they also help (Mulvey the “technological evoke that techniques story. of a familiar the invocation through uncanny soothe very that other techniques and scene ups, changes close to seem equivalent that Dickens by tures a sort as practicing of positions Dickens and ultimately repertoire, formal in cinema’s on emphasis no places interestingly Eisenstein montage. literary inchoate Carol ed through public readings by Dickens and others, theatrical productions, music hall productions, music theatrical and others, Dickens by readings public ed through was adapted it where and finally the cinema, shows magic lantern panoramas, sketches, like it, allowed rather familiarity cultural Its alone. era in the silent times than ten more 41), partialin only 2019, staging be (1903)to (Leitch Cabin adapted fashion, Tom’s Uncle of knowledge presumed on the audience’s relying versions, scenes in the earliest key book Guida’s F. story. overall the ly implications. Writes B. Brummett, “At a very simple level, the movie-goers haunt the haunt movie-goers the level, simple a very “At Brummett, B. Writes ly implications. ghosts gather as as well houses.Audiences their respective haunt ghosts like theatre en- movement and restricted of free paradoxes same the and “experience in the dark” does Scrooge. story, (1985, and ghosts” 258). So, in Dickens’s characters by countered also permits a reflexive commentary on the magic of the medium itself, and and ghost of its magic on the commentary medium itself, of the also permitsa reflexive RCL — Revista de Comunicação e Linguagens Journal of Communication and Languages N.53 (2020) ISSN 2183-7198 - - - - 60 Where the the Where 5 (1947) would liken himself to “a blasted lantern lantern blasted “a himself to liken would (1947) in which in which Carol, A Christmas to and so suited it is ideally 6 s; in using this language, I draw on K. J. Heffernan, Heffernan, K. on J. I draw this language, using s; in monstrateur The photographic and then cinematic superimposition or double (or multiple) ex multiple) (or superimposition or double and then cinematic The photographic In addition to being capable of changing scenes with their own theatrical gestures, gestures, theatrical own their scenes with of changing being to capable addition In For more on Dickens’s ghosts, see Wood (2018). ghosts, see Wood on Dickens’s more For For more explorations of the supernatural implications of the superimposition, see Natale 2012, of the superimposition, Leeder 2017. see implications Natale of the supernatural explorations more For

5 6 LEEDER MURRAY supernatural but also are motivated by the agency of supernatural beings. ofsupernatural agency the by motivated but also are supernatural the ghosts combine aspects of all of the above. This aesthetic would in time become would This aesthetic aspectsthe ghosts combine of all of the above. that complain would Bazin André the point 1946, to by of being comical; overfamiliar - imaginary charac world, unreal “Superimposition “Attention: on the screen signals: for or, like, really are or dreams hallucinations what way in any portray it doesn’t ters”; and in 1952 writer-director 74), Curtis- Har look” (1997, a ghost would how matter, that man double-exposedbe so he can looks not so seen “a that through that noted rington In 9). as a man double-exposed” imagine a ghost might, (2000, as we much but rather and convention that in cementing a role played have popularity may fact, the story’s develop photographic new characterizing for a vocabulary certainly provide would ments -- an early X-ray experimenter named Silvanus Thompson prophesied that “we that Thompson prophesied Silvanus named experimenter X-ray early an -- ments through perceive Scrooge made he when fancy Dickens’s realize to be now able shall 2001, 58). Yet (Pamboukian of his coat” on the back buttons body brass two the Marley’s a feature but was with photography did not originate aesthetic this airy transparency slide,” and the idea was a well-established one. a well-established was the idea and slide,” the ghosts themselves have qualities that locate them within traditions from the media from within traditions them locate that qualities have the ghosts themselves ghost, described light. of Marley’s of is the insubstantiality projected The most obvious observing him, Scrooge, so and look that in these “His body terms: transparent; was (1859), say, are attributable to to attributable are (1859), say, Cities Two of in A Tale Eisenstein locates that “dissolves” be to are Carol in A Christmas occurrences equivalent itself, person narration the third author- of figures as internal function ghosts, who of the four as the work understood spectral They are ship. films, narra “the horror in describe how to terminology Gaudreault André adapts who - who accom figure or trickster in a magician is often enacted process storytelling tive’s their origins have audience that the to gestures with elaborate his acts of sorcery panies (2004, 26). magician” of the stage sleight-of-hand distracting If A in the deliberately dynamic a similar Christmas horror, to relationship only a distant Carol seems have to morality) (and of narrative agents as function ghosts the wherein prevails, nonetheless time. the same at spectacles of audiovisual and conjurers He (2003, 58). behind” on his coat buttons could see the two his waistcoat, ing through the original accompanied that Leech John by in the illustrations visualized as such was (Rex Gregg the ghost of Captain John later, A century Chapman & Hall. by publication Muir Ghost Mrs. and in The Harrison) halluci- of ghosts, dreams, depictions for become would conventional aesthetic posure visions, and religious nations RCL — Revista de Comunicação e Linguagens Journal of Communication and Languages N.53 (2020) ISSN 2183-7198

------th 61 , to paraphrase Hamlet, the time is well and the time is well Hamlet, paraphrase , to Scholars including Karen Petroski (1997), Grahame Smith (2003). Joss Marsh Marsh Joss (2003). Smith Grahame (1997), Petroski Karen including Scholars difficult-to-visualizeage the famously including themselves, than the spirits Other is its peculiar management of time, space and vision and the rela and vision space is its peculiarof time, management Carol A Christmas (2009) and Florent Christol (2015) have explored the presence of lantern imagery imagery of lantern the presence explored (2015) have Christol and Florent (2009) light in media projected its adaptability to turn led in which work, Dickens’s throughout In the Eisenstein and others. by identified qualities of cinematic the many and supply of the section, “These informs that but shadows Scrooge the spirit Past are Christmas (2003, 55). The Phantas no consciousness of us” been have ... They have that things mas ghost story, “The Haunted Man” (Groth 2017). (Groth Man” “The Haunted story, mas ghost ofthe Ghost including visions, all three through persists metaphor shadow magorical - Tim, “If these shad that Tiny to with reference Present informingChristmas Scrooge, later and Scrooge’s (Ibid., 105), will die” the child the Future, by unaltered remain ows that of the things these the shadows “Are Future, question of of the Ghost Christmas Scrooge’s Though only?” (Ibid., 147). be, May that of things they shadows Will be, or are of emotions andultimate range to a moved he is that convincing sufficiently are visions just that, they remain images. betterment, on some his moral ly to level — the only ghost not of Past is the Ghost Christmas candle-person that genderless less, an adaptor for challenge adaptational — the biggest visualized in the initial illustrations of and bells Clocks centrally. time very involves story Dickens’ three. the between tionship familiar at will come spirits the three that Scrooge tells mentioned throughout. Marley are to-morrow, “Expect the first in adaptations: removed get to tend that in lines intervals, third The hour. the same night at Expect the second One ... on the next tolls the bell when (Ibid., 45-6). vibrate” has ceased to of Twelve stroke the last upon night when the next de own of Scrooge’s inversion is an ironic of the ghostly visitations timeliness The strict Scrooge un- as part of commerce. timelines modern of the rigid order the new to votion each after — nights successive appearwill ghosts the three on that expects derstandably Hence it is still nighttime. surprised find that to and wakes sleep into he collapses vision after being it’s it all in one night” informedhis surprise done that that, “The have Spirits they like. with, “Theyanything do can — he follows boythe street the on by day Christmas (Ibid., 151). inevi- haunting that they can. they can” Of course Of course is a reminder It into our calendars call “Ghosts states, Lim time -- as B.C. of linear the idea troubles tably 149). In Aquestion (2009, Christmas Carol in the past, and times present of places truly a range out of joint. through is swept Scrooge time — and to the entire in his bedchamber he remains on some levels yet and future, happened simultaneously of seem have the visions to two stranger, the experience make it last. experiences Scrooge though even happenedand the third earlier century and spreading widely thereafter, and its theatrical descendent Pepper’s Ghost, Pepper’s descendent and its theatrical thereafter, widely spreading and century Carol A Christmas after years twenty around London the Polytechnic at debuted which Christ a performance of during another Dickens debuting appropriately written, was MURRAY LEEDER MURRAY of the magic lantern shows of the Phantasmagoria, pioneered in France in the late 18 late in the in France pioneered ofthe Phantasmagoria, shows of lantern the magic RCL — Revista de Comunicação e Linguagens Journal of Communication and Languages N.53 (2020) ISSN 2183-7198 - A 62 (1913, (1922, UK) Scrooge Scrooge century reconfiguring of the human mind human of the reconfiguring century th (1910, Italy), Italy), (1910, Sogno Dell’usuraio Il and 19 th (1910, US), US), (1910, Carol A Christmas Additionally, Scrooge’s supernaturally-facilitated voyage through space and time istime and space through voyage supernaturally-facilitated Scrooge’s Additionally, Throughout the story, Scrooge is granted a kind of special vision that allows him allows of a kind that special vision is granted Scrooge the story, Throughout J. Bowen notes that during Scrooge’s visions, “his position is very akin to that of a that “his akin to visions, position is very Scrooge’s during that notes Bowen J. Scrooges Silent Four least at adapted was Carol A Christmas that such The popularity of was the story Scrooge (1916, Scrooge US), Be Happy to (1914, Right Carol The A Christmas UK), (1923, UK). There are other works clearly influenced by Dickens’ Dickens’ influencedby clearly (1923, other works are There Carol UK). A Christmas Christmas of the Carol18 is reflective also a journey into self — into his past, his future and his true nature. There is nothing in There his past, self — into also and his true into a journey his future nature. hallucination; a is Marley that suspicion early Scrooge’s refutes overtly that the story to peer into the realms of the unseen. A dramatic, seldom visualized example comes at at comes visualized example seldom of unseen. the peer the realms to into A dramatic, look out of his window, to Scrooge bids visit, initial Marley when ofthe end Marley’s thither hither and wandering phantoms, with “The filled that: air was discover only to 46). (2003, as they went” and moaning these tortured haste, that appears It in restless present, just the naked eluding always — are chains” one of them wore — “every beings but alsoother times unseen Scrooge sees not only into worlds the spirits, by Aided eye. of Present Christmas the Ghost when sequence comes The most panoramic and places. tour a fast-paced him on (Ibid., 85) robe!” and takes my “Touch to Scrooge commands residence. the Cratchit at of down setting London before merrymaking MURRAY LEEDER MURRAY modern cinema spectator” and this is especially true 30), (2003, because- he experienc sound-era many However, and immobility. mobility of time and space, disjunctures es inform- while of his position. is to, the uncanniness The tendency mitigate adaptations visualize nevertheless in the visions, with the figures interact to not able he is ing us that three-dimensional share as embodied appearingto space. him and the spirits figures past and ig walk children 1984 Cratchit’s Donner’s adaptation, in Clive example, For Carol A Christmas Ghost (1901, UK), Marley’s or, Scrooge, era: in the silent nine times US), (1908, as a place, and often a haunted one. In her discussion of the spectralization of In her discussion the mind, one. of the spectralization and often a haunted as a place, of display the external and how discusses Castle “Phantasmagoria” the term how Terry now itself, imagination the human to refer to came eventually of shadow and light feats and the hallucinations fantasies, occupied memories, by as an environment understood of the super- in this modern reorganization saturated story, (1995,like 141-3). In Dickens’s become almost inseparable. spaces and supernatural mental spaces natural, - C. Wood Scott) of Present and the Ghost Christmas (Edward Scrooge (George nore pro-cinematica in presence ofone is shared space. impression dominant the but ward) of versions cinematic somewith of earliest the contrast a quite makes it see, shall we As potential. of cinema’s powerful take advantage which tale, Dickens’s UK), and (1913). Most Mars from science fiction film A Message British the early including story, to desire a consistent, almost compulsive reveal of lost, these are survive but those that RCL — Revista de Comunicação e Linguagens Journal of Communication and Languages N.53 (2020) ISSN 2183-7198 - - 63 (1898) (1898) It is considered an important is considered early It 7 , was directed by trick film specialist film trick by Ghostdirected was , Marley’s or Scrooge, The 1901 version, 1901The version, The spatial orientation of the next scene is perhaps even more striking. The fa more scene even is perhaps of the next orientation The spatial For more on this and other supernatural scenarios by Paul, see Christie (2018). It should also be noted that this isthis alsoshould be see that It (2018). noted Christie Paul, by scenarios supernatural other and this on more For Claus Santa techniques: G.A. Smith’s film innovative to employ film Christmas supernatural the first not even on the roof. landing of Santa Claus itself, the dream and dreaming ususes a child show a superimposed to image

7 LEEDER MURRAY use the story to explore the possibilities of managing time and space through the new the new through of possibilities the space and time managing use explore to the story or part, whole ofmedium in film. This survive the section will discuss1901, which those 1910 their uses 1913 is possible as of US, superimpo as far 1923 and comparing versions, sition and their various strategies to manage the ghostly disjunctures in time and space space and time in disjunctures ghostly the manage to strategies various their and sition experience. both the viewer and Scrooge that and reality) vision between (and Walter R. Paul. Booth Robert produced by and Walter W. multi-scene adaptation (Christie 2010, 510),to film use 2010, and has been as an early noted (Christie multi-scene adaptation most of the it contains though survives, a fragment Only intertitles 2003, 117). (Elliott title a series of as content. is structured by scenes, introduced It supernatural story’s minutes, six just over to Streamlined story. Dickens’ scenes from key stage which cards, starts (Daniel at version Scrooge This Marley. to duties all haunting the of gives film the Scrooge shows Ghost “Scene Marley’s II: reads A caption his business. leaving Smith) Marley’s After beingspookedby briefly Visions of himself in CHRISTMASES PAST.” and his room, his cap dons Scrooge enters superimposed on his door knocker, face special for a space then provide curtains, which black his thick closes He nightgown. superimposed ghost appears, a Marley’s non-diegetically. and effects both diegetically left to the steps Marley react before to time robes. has barely white Scrooge in figure curtains: the black against images begins conjure to with a gesture and of the frame of him romancing image and an departed of mother, with his dear Scrooge an image the curtains into and back steps and Marley vanish these images In short order, Belle. Zecca’s of Ferdinand is reminiscent The staging of the scene here of haunting vanishes. of the also us uses the dream show superimpositions (1901), to which crime d’un Histoire into decline his showing by backstory character’s and thus fill in the imprisoned burglar film, opens curtains the Scrooge him,for look to and Booth’s In crime. and alcoholism CHRISTMAS OF announcing: “VISIONS card, another title into dissolved the image ‘‘TO MISTER SCROOGE!’’” drink and Fred Cratchit Bob PRESENT: miliar scene of the Cratchits’ impoverished but loving family life (Tiny Tim’s maxim Tim’s (Tiny life family but loving impoverished miliar scene of the Cratchits’ most but a the of fills them) screen above a sign on hangs One” Every Us, Bless “God area, this enter repeatedly actors the Though of frame. the right the at left is area black the blackness there; then materialize Scrooge and Marley it is conspicuously void-like. imperfectly, however convey, the superimposition but also effects helps accommodates we see the briefly, More scene. of this family observers invisible they are the notion that in front materialize Scrooge and Marley where Fred, nephew party Scrooge’s by hosted quickly. away fading before of the left of the frame, a scrim at RCL — Revista de Comunicação e Linguagens Journal of Communication and Languages N.53 (2020) ISSN 2183-7198 - - - - 64 — 1 Image invisibly and Marley Scrooge in Scrooge, the Cratchits observe Ghost (1901). Marley’s or, Domain.Public provides an impressive array of possible array an impressive Ghost provides Marley’s or, Scrooge, In short order, 1910the in somebut Edison retained adaptation, are principles aesthetic Similar could “Visions wealth of present.the miser’s the intertitlean After What declares A title card now announces “SCENE IV: The Christmas that might be. Marley’s might be. Marley’s that The Christmas “SCENE IV: announces now card A title ways of managing space and time in the scene of haunting. In the Christmas Past seg in the scene and time of of Past haunting. managing space In the Christmas ways now of frame, the the back at reappears and the spirit the composition changes do,” of visions the Cratchits’ while the left of the frame This time Scrooge is at hovering. ghost shows Scrooge his own Grave and the death of ‘Tiny Tim.’” In this churchyard In this churchyard of Tim.’” ‘Tiny and the death Grave Scrooge his own ghost shows see past is superimposed. we a man walk Instead neither Scrooge nor Marley scene, Scrooge in from leads of note it, any without making and then Marley grave Scrooge’s The scene then changes with a gesture. tombstone the indicating of the frame, outside about it. be can drawn conclusions many before ends but the fragment the Cratchits’ to - lantern a like much very double-exposed acts figure, a transparent himself ment, Marley, Scrooge views of the past that images ), conjuring (a monstrateur ist or film projectionist both are intangible Present, Christmas and Marley Scrooge For as an audience member. Christmases. In Christmas respective and Fred’s the Cratchits’ superimpositions viewing same the solid have now Marley and Scrooge employed; are special no effects Future, — them, because spectral itself is perhaps around Future the world the as register visual a provides will happen. Carol A Christmas which than that rather be,” “might which that follow. would other filmmakers that effects and trick experimentation formal for venue left the walks out from ghost Marley’s As the of haunting simplified. scene begins, what confirmto out reaches McDermott) a superimposed(Marc of figure; the frame, Scrooge via a substitution and is replaced, gestures Marley later, Moments his insubstantiality. robes edit,wearing with the being as the intertitle identifies Spirit of Christmas”; “The Present. of Christmas Ghost In succes the story’s he resembles of laurel, and a crown of his bedroom; a set of superimposed, visions, the backdrop he conjures against sion the left. ap at The spirit hovers Scrooge while of the frame side on the right they are with his gestures. the visions conjure to pears MURRAY LEEDER MURRAY RCL — Revista de Comunicação e Linguagens Journal of Communication and Languages N.53 (2020) ISSN 2183-7198 - - 65 — 2 Image Scrooge shows Marley (1913). his past in Scrooge domain Public when when Scrooge beit would as Old known Scrooge; Scrooge; . In this version spaces are collapsed in another way: Scrooge’s workplace and res workplace Scrooge’s in another way: collapsed are spaces . In this version In the intertitle he declares, “As the ghost of Christmas Present I must show you you Present ofghost the show must I Christmas “As intertitlethe In declares, he The 1913 British version was called called was The 1913version British The intertitle now declares, “Visions of the Future. A miser’s death.” Now Scrooge Scrooge Now death.” “Visions A miser’s of the Future. The intertitle declares, now one happy family; that of your poor clerk Cratchit—happy because surrounded by those by because surrounded Cratchit—happy poor of your that clerk one happy family; the screen, superimposed appears Another vision this time more over him.” love who of in the left the frame. isolated MURRAY LEEDER MURRAY is at the right of the frame and a huge superimposed figure in a veil steps forward, dom- forward, veil steps superimposed in a figure a huge and offrame the right the is at then and death, of Scrooge’s image an appears left its To of frame. the centre the inating then the spirit, for who reaches and stands Scrooge of his tombstone. image the familiar of shared, a quality — insubstantiality his emphasizing time, the last for disappears image. the cinematic by course, Christmas dinner appear at the right. In a rarely depicted incident from the novella, novella, the from incident depicted the right. appear dinner Christmas at rarely In a in the literally robe, Miseryspirit’s appearWant and the beneath of the reifications - van They out their superimposed Scrooge. out to hands him,reach and below frame with the spirit.ish, along idence are treated as the same location. Marley is again a superimposed en- is again ghost who Marley location. as the same treated are idence to move They then rouse in an armchair. to Scrooge as he dozes out of frame from ters in frame), longer itself no (the armchair room in the elsewhere composition a different most vision.of the in As floorthe on throughout 1903, cowering remains Scrooge while ges as a lanternist, who much acting very himself, all of conducts hauntings the Marley superimposedyouth, mid-frame. at of Scrooge’s visions produce to tures released in the US in 1926. This version starred veteran stage Scrooge Seymour Hicks, Scrooge Seymour Hicks, stage veteran starred in the US in 1926. This version released of A in 1935 Christmaslength adaptation the role reprise would feature who in the first Carol RCL — Revista de Comunicação e Linguagens Journal of Communication and Languages N.53 (2020) ISSN 2183-7198 - - - - 66 As he lowers his head into his hands, the film cuts without warning back to back warning without film cuts the hands, his into head his lowers he As Scrooge is briefly left alone before the Ghost of Christmas Future arrives. Space Space arrives. Ghost Future the of Christmas left alone Scrooge is briefly before In the 1923 version, Marley (Jack Denton) is again visualized with the now fa visualized now the with is again Denton) (Jack In the 1923 Marley version, to is drawn but soon him out of anger his eyeline at gesticulates Scrooge quickly Finally, Marley supplies visions of the future, again superimposed at centre superimposed centre again at of future, the visions supplies Marley Finally, Scrooge’s bedroom, where he is sitting in his chair. He is in the same position is in the same as in the He in his chair. he is sitting bedroom, where Scrooge’s is managed differently again; Scrooge walks to the back of the frame to opendoor a of the frame to the back walks again; Scrooge differently is managed sees. he sceneThe of angle soon what different a to cuts at fright in away back to only A superimposed, through. walks hoodedthe door of Future and the Ghost Christmas reaching arm only a becoming beckoning ultimately follow, to it bids Scrooge figure, moving transport appears to Scrooge, this is the only ghost who Again, the frame. into is superimposed the spirit is not. and Scrooge where They observe a graveyard him to from shot POV a closeup is provided and after Scrooge which a horizontal gravestone, pleading, the Ghost his knees to falls As Scrooge its name. show to perspective Scrooge’s with the marker. alone Scrooge and leaves away fades of Future Christmas another corner of his room. There, the Ghost of Christmas Present appears, again super- of Present Ghost Christmas appears, again the ofanother corner his room. There, as such decorations and wreaths phantasmal hazy by imposedalso surrounded now but in his initially isolated is He room in the story. Scrooge’s transform those magically that to compared a giant he is that Scrooge soon but composition it,own enters making clear no visions. shows Scrooge but this time warnings he offers Interestingly, Scrooge. ample, since Scrooge rises from the floor, as Scrooge first walks to the front of the frame, frame, front of the to the walks first as Scrooge the floor, from Scrooge rises since ample, a better get if to as image, the deeper into and then walks the camera to back turns his starts his image, now occlude to superimposed the which into then walks area look. He “He name and the words also occupied his own space by the as he thrusts a hand into also happens in His subsequent beseeching of Marley friend.” & died without a lived “fore nor “background” terms neither the which to the tombstone, by shared the space Marley and vanishes slowly It of flatness. impression its overall apply due to ground” and swoons He on the floor. collapses Scrooge while out of the frame backward walks the armchair composition with on the original back and then fades out fades the image dis versions than the other him, strongly visited implying, more first Marley where just a dream.” “all was it that cussed here, the beginning of the at nothingness appearing from miliar superimposition aesthetic, of past is also- its end. The Ghost Christmas su at sequence and vanishing visitation of a vision promises He than an end table. just standing taller perimposed but is tiny, - extinguish of the candle a version a cap, past and places (Russell Thorndike) Scrooge’s of a vision later, Moments vanishes. and then describes, on his head, er than Dickens of his room. The spirit superimposed appears the blackness youth against Scrooge’s disappears. the vision after only reappears frame. The first is a vision of Tiny Tim’s death, and then he shows a close-up a of sortsshows then he and death, of Tim’s is a vision of Tiny The first frame. ex this last for is particularly interesting of space The orientation tombstone. Scrooge’s MURRAY LEEDER MURRAY RCL — Revista de Comunicação e Linguagens Journal of Communication and Languages N.53 (2020) ISSN 2183-7198 - - - - 67 . It has the repeat . It , however, are on the are , however, (1951), in the US as A Christmas released Carol (1996) — is one of those with the most developed reflexive tendencies. This is tendencies. (1996) reflexive — is one of those the most developed with - the 1901 ver Carol, of A Christmas adaptation might seem the earliest oddIt that The Ghost of Digital Futures Digital of Ghost The here, adaptations particularthe of silent emphasizing am I Though aesthetics ed motif of an hourglass is a non-diegetic insert to signify shifts in time and place, and is a non-diegetic insert shifts in time and place, ed motif of signify an hourglass to new a to dissolve a usedis motivate to cloak Past’s of of Christmas Ghost the gesture a uses of Pres the Ghost Christmas Donner version the Clive Similarly, time and place. closure, of diegetic conventions the breaching camera, the thrust towards torch ent’s of A ChristmasMost adaptations a transition. affect scene to Carol standard. formally whole MURRAY LEEDER MURRAY sion by Paul, is the most experimental, providing almost a collage of different - possi of different almost a collage providing is the most experimental, Paul, by sion it comes is that of course, The explanation, space. managing supernaturally for bilities cinema, an era rest,early of the to that regime industrial/aesthetic different a very from experimentation because precisely filmmakers avant-garde by beenhas valorized that how as to including ways, in many vary 1992). These versions four the norm (Testa was be to it implied all just is strongly and how Scrooge, they show what ghosts appear, many figures ghosts as monstrateur in using their consistent, all however, They are a dream. superimpositionsdis and use to both superimposition are themselves aesthetics who prior shot, so if it this edit does not quite qualify a graphic match as we generally use the generally we as match shot,prior a graphic qualify so quite does not this edit if it an in using similar conceptually part it is — now different in a is he — term frame of the might other- what through continuity imply to of consistency compositional element wise be spatio-temporal edit. a jarring ges reflexive towards a penchant retain Carol sound-era of A Christmas adaptations play images for Scrooge. All of them consistently retain the setting of Scrooge’s room, setting of the Scrooge’s retain All of them consistently Scrooge. for images play transportinginstantaneously or shifting time in Londonabout less is soimpression the experiencing him. being to The acts of shown seeing,than a set of pictures travelling, is also noteworthy It together. all collapsed are and changing, growing and, critically, stand- fairly formally all are in all ofsequences thesenon-supernatural that films, the Scrooge when as in the 1913 is depicted, experience version subjective when Even ard. maximum for is calculated pattern cutting the dinner, for Cratchits joining the imagines - an essentially continu allow scenes, in contrast, The supernatural comprehensibility. certainty near the audience will not get that provides of which the familiarity ous story, of im- levels the on innovations formal confused,experimental and permits daring that editing and composition. age, most is worth the adaptation lesser extent. It noting that a considerably albeit to tures, Cinematic discussion in the collection warrant — the only one to ghost story as a beloved Hauntings film Scrooge the British RCL — Revista de Comunicação e Linguagens Journal of Communication and Languages N.53 (2020) ISSN 2183-7198 - 68 8 (2004) has received significantly more more significantly has received (2004) . It has been discussed by F. A. Kamm has been discussed. It F. by The film’s thrilling, gliding tracking shots over the topography of Victorian of Lon- Victorian topography the over shots thrilling, tracking gliding film’s The But the digital era has brought perhaps the most uncanny — and perhaps the most — and perhaps the most uncanny perhaps has brought digital era the But notably by J. Aldred (2006). Aldred J. by notably Carol, than A Christmas scholarship The Polar Express Express Polar film The motion capture holiday-themed prior Zemeckis’s

in terms of “the haunted and uncanny nature of the digital body on film” (2019, (2019, of43), and body the digital nature on film” of and uncanny in terms “the haunted interesting. is no less of time and space its management that suggest I would at first seem at events, street-level observe to downward don, swooping occasionally reflexive — Christmas reflexive 2009 motion capture 3-D Carol of them all. Robert Zemeckis’s A Disney’s Christmas officially called version Carol tributable to film narration itself. Later, however, when the Ghost of Christmas Past Ghost of Christmas when the however, Later, itself. film narration to tributable of landscape the childhood, his through (JimScrooge guides (JimCarrey) Carrey) of the ghostly transportation becomes explicitly this vertiginous virtual camerawork sequence the purposes The most striking for alike. Scrooge and the audience of this 8 LEEDER MURRAY The Ghost of Christmas Present triggers Present of triggers Christmas The Ghost torch with his magical a scene transition (1984). Carol © 20th Century in A Christmas Entertainment Home Fox — 3 Image RCL — Revista de Comunicação e Linguagens Journal of Communication and Languages N.53 (2020) ISSN 2183-7198 - - - 69 4 Image home theatre A magical Carol in A Christmas experience Pictures Disney © Walt (2009). — This sequence then moves into one that is quieter but equally ghostly in a quite dif ghostly in a quite but equally is quieter one that into This sequence then moves Many have remarked upon the digital era’s affinities with the Cinema of Attractions Attractions with the Cinema affinities of upon the digital era’s remarked have Many acts very much like a ride conductor. In a concise example of media convergence, of convergence, media In a concise example conductor. a ride like much acts very -- what L. Mulvey describes as the return of “the phantom-like quality” of “the 36) phantom-like describes as the return L. (2006, Mulvey -- what of early ferent way. We lose sight of Scrooge and the spirit although, so instead of invisibly ob so of although, invisibly lose of instead and the spirit sight Scrooge We way. ferent by largely signified they are and his friends, Fred dinner and later at serving the Cratchits in as it glides, camerawork by model is signified Their gaze camerawork. mobile restless, Scrooge to it cuts back Occasionally character. POV a conventional for impossible patterns virtual often camera’s more but above, space a from him bedroom,his in back watching of The ghostly implications one. into all collapsed are of Scrooge and the viewer that gaze, instead. emphasized are downplay cinema so to that often wants spectatorship MURRAY LEEDER MURRAY essay is where the Ghost of Christmas Present (also Carrey) gives Scrooge a panoramic panoramic a Scrooge gives Carrey) Present of Ghost the (also Christmas is where essay of the a wave robe, the spirit’s London. of Scrooge grasps After his contemporary view resembles it At first of his bedroom floor. surface on the surface a viewing creates torch that but it clear soon level, becomes lower a at lookingdown floor, in Scrooge’s a hole on it, stand directly by too they seem though affected and table solid; a chair it is still dangles Scrooge where view overhead an to switch of We movement. “impression” its him, around of world the view overheard a godlike, to treated abyss, the apparent over he scorns. emphasizes The staging that of the underclass the merriment as he observes about the nervous — he is understandably motion and stability simultaneous Scrooge’s shared an experience — again, but is in no actual danger his feet below chasm yawning this feat accomplishes that mastery and technological The authorship the audience. by his brilliant of moves audio-visual Past, who of the Ghost Christmas to magic is linked of the ghostly monstra this version the vision; and control steady to apparently torch teur teur and the ride theme park a (Disney-style) suggests once sequence at cinematic this very enlightenment, moral it seems, be to is Scrooge’s experience; home theatre ultimate immersion. shock-and-awe by accomplished RCL — Revista de Comunicação e Linguagens Journal of Communication and Languages N.53 (2020) ISSN 2183-7198 - - - - - 70 ’. In ’. ed. J. Glavin, Glavin, ed. J. Glavin, 29-38. Glavin, . -Century Culture and the Invention of the Uncanny. New Uncanny. the of Invention the and -Century Culture th A sense of technological uncanny runs through both pe through runs uncanny A sense of technological 9 . 82: https://doi.org/10.4000/cve.2275 n.p. is a fast-paced and kinetic thrill-ride packed with visual stimula with visual packed thrill-ride and kinetic is a fast-paced no doubt had the same appeal in 2009 it Zemeckis had the same for that no doubt Carol A Christmas Christmas Carol 113-121. Cambridge: Cambridge University Press. 113-121. University Cambridge Cambridge: Press. Stanford: Stanford University Christmas at the Movies: Images of Christmas in American, British and European Cinema, ed. M. Cinema, European and British American, in Christmas of Images Movies: at the Christmas Tauris. London: I.B. 9-37. Connelly, 46-58. M. Dahlquist, eds. Bloomington: Form, Physical and Skin, Viscera, Cinema: Press. Indiana University London: Routledge. victoriens & Cahiers édouardiens ed. S. Eisenstein, 195-255.ed. S. Harcourt: San Diego. Cambridge: Cambridge University Press. University Cambridge Cambridge: York: Oxford University Press. University Oxford York: For more on aspects of the digital uncanny, see Ravetto-Biagioli (2019). see Ravetto-Biagioli on aspects of more the digital uncanny, For 1, nº 2: 153-72. 1, nº journal https://doi. interdisciplinary an animation: Blockbuster.” Generated org/10.1177/1746847706065840 Routledge. York: New 73-76. Cardullo, , ed. B. Fifties and Forties the from 2: 247-261. https://doi.org/10.1080/15295038509360084 Communications Mass in Studies

Better Left Unsaid: Victorian Novels, Hays Code Films, and the Benefits of Censorship. Censorship. of Benefits the and Films, Code Hays Novels, Victorian Unsaid: Left Gilbert, 2013. Better N. Corporeality in Early in Early In Corporeality Machinery’. Siècle in Fin de and Their Nationality 2018. Ian. ‘Ghosts Christie, , ed. R. 510-11. Cinema Abel, Early of In Encyclopedia Robert ‘Paul, William.’ 2010. Ian. Christie, 1843): as Completion.’ (Dickens, Adaptation Carol Florent. 2015. ‘Screening A Christmas Christol, New York: Norton. York: New Prose. in Carol Christmas Annotated The 2003. Charles. Dickens, Theory, Film in Essays Form: In Film Today”. and the Film Griffith, Eisenstein, 1949. “Dickens, Sergei. on Screen, In Dickens Words”. and Uncinematic Dickens Elliott, “Cinematic 2003. Kamilla. The Female Thermometer: 18 Thermometer: 1995. Female The Terry. Castle, Chapman, James. 2000. ‘God Bless Us, Every One: Movie Adaptations of A Christmas Adaptations One: Movie Every Carol Us, Bless ‘God 2000. Chapman, James. riods, and just as the Dickens adaptations of the silent era both explored the potential of both explored era of the silent adaptations justriods, and Dickens as the Ze decades. few last the of filmmakers the effects, have so spectral for medium the new meckis’s and themes beats plot familiar same with the story Dickens the same tion, but it also tells of most the to down one of adaptations, the most faithful respects intact.in many is It dialogue. the ma where story, familiar within a culturally play formal to had in 1901 — an invitation itself. the narrative justifiedby is thoroughly of time and space nipulation MURRAY LEEDER MURRAY 9 — Bibliography in the Computer- of Address Change A ‘Playful’ Express: Polar The Aboard “All 2006. Jessica. Aldred, London: Boxtree. Logs Supplemental. 1994. Edward. 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Cinematic 1996. Susan (eds.). and Svehla, J. Gary Svehla, of Art Ontario. Gallery Toronto: Avant-Garde. the and Cinema Early Bart. 1992. Forth: and Testa, Back to Handbook Routledge In The Story.’ and the Ghost Dickens Charles Spirits: 2018. ‘Playful Claire. Wood, Jefferson, Jefferson, Television. and Screen on Story Dickens’s Adaptations: Its and Carol A Christmas 2000. F. Guida, Reader Film In Horror and Ghosties.” “Ghoulies Curtis.Harrington, 2000. MURRAY LEEDER MURRAY . London: B.T. Batsford. . London: B.T. Christmas Modern of Making 1986.Purdue, The and A.W. J M. Golby, Haunted Dickens’s Man Illusions: Victorian ‘Reading 2017. Helen. Groth, RCL — Revista de Comunicação e Linguagens Journal of Communication and Languages N.53 (2020) ISSN 2183-7198 72 Aceite: 2020-07-31 Aceite: Accepted Accepted — iD ORCID 0000-0002-3315-5055 — Scopus ID 33467616100 — Acknowledgments made was this article to leading Research the Social from Sciences a grant possibly by Council of Canada Research and Humanities thank Drs. to also like I would (SSHRC). Aldred. and Jessica Holliday Christopher — address Institutional Winnipeg Rd. 3A7. MB R3G 595Valour Recebido: 2020-10-20 Recebido: https://doi.org/10.34619/cvp8-6c31 — Received — DOI LEEDER MURRAY — note Biographical the at Affiliate Leeder a Research is Murray the for Institute of Manitoba’s University Carleton from a Ph.D. holds He Humanities. A Film: of Horror the author He University. Critical Introduction 2018), (Bloomsbury, Beginnings the and Supernatural Modern The and 2017) Macmillan, (Palgrave Cinema of 2014), ofCinematic editor (Auteur, Halloween Silent from Spectrality and Haunting Ghosts: 2015) and (Bloomsbury, Era Digital the to Cinema (Edinburgh Castle William of Films The ReFocus: 2018). Press, University