Ghost Hunting

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Haunted house in Toledo Ghost Hunting GHOST HUNTING 101 GHOST HUNTING 102 This course is designed to give you a deeper insight into the This course is an extended version of Ghost Hunting 101. While world of paranormal investigation. Essential characteristics of it is advised that Ghost hunting 101 be taken as a prerequisite, it a paranormal investigation require is not necessary. This class will expand on topics of paranormal a cautious approach backed up investigations covered in the first class. It will also cover a variety with scientific methodology. Learn of topics of interest to more experienced investigators, as well as, best practices for ghost hunting, exploring actual techniques for using equipment in ghost hunting, investigating, reviewing evidence and types of hauntings, case scenarios, identifying the more obscure presenting evidence to your client. Learn spirits and how to deal with them along with advanced self- from veteran paranormal investigator protection. Learn from veteran paranormal investigator, Harold Harold St. John, founder of Toledo Ohio St. John, founder of the Toledo Ohio Ghost Hunters Society. If you Ghost Hunters Society. We will study have taken Ghost Hunting 101 and have had an investigation, you the different types of haunting's, a might want to bring your documented evidence such as pictures, typical case study of a "Haunting", the EVP’s or video to share with your classmates. There will be three Harold St. John essential investigating equipment, the classes of lecture and discussions with the last session being a investigation process and how to deal field trip to hone the skills you have learned. with the aftermath of an investigation. Students will learn by 51058 Thu 3/12 – 4/2 6 – 8 p.m. Perrysburg $89 hands-on use of equipment, proper investigation documentation and safety protocols. The class will end with a field trip to hone the skills you have learned. 51056 Thu 2/6 – 2/27 6 – 8 p.m. Perrysburg $89 NEW! THE PARANORMAL HISTORY OF THE GREAT LAKES The Great Lakes have a long history of Lake monsters, Ghost ships, Devil’s Triangle, and shipwrecks. This 4-week course gives a new look at the history of the Great Lakes with a focus on the paranormal side. Week 1 Week 3 • Geography of the Great Lakes • Lake Michigan’s Devil’s Triangle • Historical shipwrecks • UFO activity on the Great Lakes • Ghost Ship legends Week 4 Week 2 • Haunted Lighthouses • Lake monsters and odd creatures • Native American legends of the of the Great Lakes Great Lakes • Native and non-native species reports 51016 Wed 2/5 – 2/29 7 – 8:30 p.m. Perrysburg $85 51017 Tue 3/24 – 4/14 7 – 8:30 p.m. Perrysburg $85 REGISTER TODAY! www.owensworks.com • (567) 661-7357.

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Texas Paranormalists
! TEXAS PARANORMALISTS David!Goodman,!B.F.A,!M.A.! ! ! Thesis!Prepared!for!the!Degree!of! MASTER!OF!FINE!ARTS! ! ! UNIVERSITY!OF!NORTH!TEXAS! December!2015! ! APPROVED:!! Tania!Khalaf,!Major!Professor!!!!! ! Eugene!Martin,!Committee!Member!&!!!! ! Chair!for!the!Department!of!Media!Arts ! Marina!Levina,!Committee!Member!!!! ! Goodman, David. “Texas Paranormalists.” Master of Fine Arts (Documentary Production and Studies), December 2015, 52 pp., references, 12 titles. Texas Pararnormalists mixes participatory and observational styles in an effort to portray a small community of paranormal practitioners who live and work in and around North Texas. These practitioners include psychics, ghost investigators, and other enthusiasts and seekers of the spirit world. Through the documentation of their combined perspectives, Texas Paranormalists renders a portrait of a community of outsiders with a shared belief system and an unshakeable passion for reaching out into the unknown. ! ! ! ! ! ! ! Copyright!2015! By! David!Goodman! ! ! ! ! ! ! ! ! ! ! ii! ! Table!of!Contents! ! ! ! ! ! ! ! ! !!!! !!!!!!!!!!!!!!!!!!!!!Page! PROSPECTUS………………………………………………………………………………………………………!1! Introduction!and!Description……………………………………………………………………..1! ! Purpose…………………………………………………………………………………………….………3! ! Intended!Audience…………………………………………………………………………………….4! ! Preproduction!Research…….....................…………………………………………...…………..6! ! ! Feasibility……...……………...…………….………………………………………………6! ! ! Research!Summary…….…...…..……….………………………………………………7! Books………...………………………………………………………………………………..8!
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Cinematic Ghosts: Haunting and Spectrality from Silent Cinema to the Digital Era
Cinematic Ghosts: Haunting and Spectrality from Silent Cinema to the Digital Era. Edited by Murray Leeder. Bloomsbury Academic, 2015 (307 pages). Anton Karl Kozlovic Murray Leeder’s exciting new book sits comfortably alongside The Haunted Screen: Ghosts in Literature & Film (Kovacs), Ghost Images: Cinema of the Afterlife (Ruffles), Dark Places: The Haunted House in Film (Curtis), Popular Ghosts: The Haunted Spaces of Everyday Culture (Blanco and Peeren), The Spectralities Reader: Ghost and Haunting in Contemporary Cultural Theory (Blanco and Peeren), The Ghostly and the Ghosted in Literature and Film: Spectral Identities (Kröger and Anderson), and The Spectral Metaphor: Living Ghosts and the Agency of Invisibility (Peeren) amongst others. Within his Introduction Leeder claims that “[g]hosts have been with cinema since its first days” (4), that “cinematic double exposures, [were] the first conventional strategy for displaying ghosts on screen” (5), and that “[c]inema does not need to depict ghosts to be ghostly and haunted” (3). However, despite the above-listed texts and his own reference list (9–10), Leeder somewhat surprisingly goes on to claim that “this volume marks the first collection of essays specifically about cinematic ghosts” (9), and that the “principal focus here is on films featuring ‘non-figurative ghosts’—that is, ghosts supposed, at least diegetically, to be ‘real’— in contrast to ‘figurative ghosts’” (10). In what follows, his collection of fifteen essays is divided across three main parts chronologically examining the phenomenon. Part One of the book is devoted to the ghosts of precinema and silent cinema. In Chapter One, “Phantom Images and Modern Manifestations: Spirit Photography, Magic Theater, Trick Films, and Photography’s Uncanny”, Tom Gunning links “Freud’s uncanny, the hope to use modern technology to overcoming [sic] death or contact the afterlife, and the technologies and practices that led to cinema” (10).
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Spiritualism and Social Conflict in Late Imperial Russia
Mysterious knocks, flying potatoes and rebellious servants: Spiritualism and social conflict in late Imperial Russia Julia Mannherz1 (Oriel College Oxford) Strange things occurred in the night of 13 December, 1884, in the city of Kazan on the river Volga. As Volzhskii vestnik (The Volga Herald) reported, unidentifiable raps were heard in the flat rented by the retired officer Florentsov on Srednaia Iamskaia Street. Before the newspaper described what had actually been observed, it made it clear that ‘all descriptions here are true facts, as has been ascertained by a member of our newspaper’s editorial board’. This assertion was deemed necessary because the phenomena were of a kind ‘regarded as “inexplicable”‘. On the evening of 13 December: Mr. Florentsov was just about to go to bed, when a loud rap on his apartment’s ceiling was heard, which caused worry even to the neighbours. At about the same time, potatoes and bricks began to fly out of the oven pipe and smashed the kitchen window. On the 14th the ‘phenomena’ continued all day long and were accompanied by many comical episodes. About 10 well-known officers came to Mr. Florentsov’s apartment. They put a heavy pole against the oven-door, but the shaft was not strong enough and it soon flew to one side. [After this] potatoes rolled out beneath the furniture, fell from the walls, rained down from the ceiling; sometimes a brick appeared at the scene of action. One officer was hit by a potato on his head, another one on his nose, some were hit by the bullets of this invisible foe at their backs, shoulders and so on.
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LEASK-DISSERTATION-2020.Pdf (1.565Mb)
WRAITHS AND WHITE MEN: THE IMPACT OF PRIVILEGE ON PARANORMAL REALITY TELEVISION by ANTARES RUSSELL LEASK DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy at The University of Texas at Arlington August, 2020 Arlington, Texas Supervising Committee: Timothy Morris, Supervising Professor Neill Matheson Timothy Richardson Copyright by Antares Russell Leask 2020 Leask iii ACKNOWLEDGEMENTS • I thank my Supervising Committee for being patient on this journey which took much more time than expected. • I thank Dr. Tim Morris, my Supervising Professor, for always answering my emails, no matter how many years apart, with kindness and understanding. I would also like to thank his demon kitten for providing the proper haunted atmosphere at my defense. • I thank Dr. Neill Matheson for the ghostly inspiration of his Gothic Literature class and for helping me return to the program. • I thank Dr. Tim Richardson for using his class to teach us how to write a conference proposal and deliver a conference paper – knowledge I have put to good use! • I thank my high school senior English teacher, Dr. Nancy Myers. It’s probably an urban legend of my own creating that you told us “when you have a Ph.D. in English you can talk to me,” but it has been a lifetime motivating force. • I thank Dr. Susan Hekman, who told me my talent was being able to use pop culture to explain philosophy. It continues to be my superpower. • I thank Rebecca Stone Gordon for the many motivating and inspiring conversations and collaborations. • I thank Tiffany A.
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Curse of the Haunted House Teacher's Guide
Curse of the Haunted House COMBO TEACHER’S GUIDE Curse of the Haunted House COMBO Teacher’s Guide Luke’s parents heard the noise and hurried upstairs to see what had happened. They listened as Luke told them about the cat in the closet. A Glamorous Ghost “It’s been a long day, honey,” his mother said soothingly. Ashton Villa Mansion, Galveston, Texas “Get ready for bed. You need a good night’s sleep.” Many people believe that when a person’s spirit returns as a ghost, it appears as the person did at the time of his or her Beautiful Bettie Ashton Brown was born into a wealthy “We all do,” his dad added. death. The spirit is often even wearing the same clothes. family in 1855. She spent her pampered But that night, Luke had a hard time falling asleep. The That’s good news for Bettie Ashton Brown. She was always Villa, buying fancy fans and dresses. She had many dressed like a princess—so she looks great as a ghost. boyfriends but never married. Some claim life Bettie at Ashton loved old house seemed to groan and creak. Tree branches scraped the expensive items she collected more than any man. against the windows. The wind whistled through every crack in the After Bettie died in 1920, her beloved building and slammed the shutters against the side of the house. turned into a museum. Her ghost is said to still visit Luke burrowed under his blanket, listening to the unfamiliar often. A museum worker once came acrossmansion her arguing with a dark-haired ghost at the piano.
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The Evolution of Spaces, Minds, and Narrative in the Haunted House Novel
Ghostly Substance: The Evolution of Spaces, Minds, and Narrative in the Haunted House Novel by Margaret Daubenfeld A thesis submitted to Sonoma State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS in English Committee Members: Dr. Stefan Kiesbye Dr. Scott Miller May, 2019 Copyright 2019 by Margaret Daubenfeld ii Authorization for Reproduction of Master’s Thesis I grant permission for the print or digital reproduction of this thesis in its entirety, without further authorization from me, on the condition that the person or agency requesting reproduction absorb the cost and provide proper acknowledgment of authorship. Margaret Daubenfeld 1 May 2019 iii Ghostly Substance: The Evolution of Spaces, Minds, and Narrative in the Haunted House Novel Thesis by Margaret Daubenfeld ABSTRACT This project looks at three haunted house novels over a wide span of time: The Turn of the Screw by Henry James, The Haunting of Hill House by Shirley Jackson, and The Little Stranger by Sarah Waters. The investigation will seek to understand how the haunted house novel has evolved over time, by looking at three similar themes between the novels. The chapters examine the physical space of the haunted house, the inclusion of female protagonists as a method of propagating the haunting, and the reliance on ambiguity as a storytelling technique. The findings will show that the houses have drastically changed over time, with the house as a physical space starting as a relatively unimportant aspect of the narrative, and eventually evolving into a more prominent component of the haunting. A constant among the narratives was the presence of a female protagonist, who was in some way shaped by loss, deprivation, and unlucky romance.
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How Places Creep Us out Francis T. Mcandrew D
Geography & Architecture of Horror 1 The Geography and Architecture of Horror: How Places Creep Us Out Francis T. McAndrew Department of Psychology Knox College CONTACT INFORMATION: Francis T, McAndrew Department of Psychology Knox College Galesburg, IL 61401-4999 Email: [email protected] Phone: +1-309-341-7525 Website: www.frankmcandrew.com Geography & Architecture of Horror 2 Abstract It is the goal of this paper to apply what psychologists and other social scientists have learned about human emotional responses to physical surroundings to an understanding of why some types of settings and some combinations of sensory information can induce a sense of dread in humans. The hoped-for contribution is to bring empirical evidence from psychological research to bear on the experience of horror, and to explain why the tried-and-true horror devices intuitively employed by writers and filmmakers work so well. Research has demonstrated that human beings have been programmed by evolution to respond emotionally to their physical surroundings, and natural selection has favored individuals who gravitated toward environments containing the “right” physical and psychological features. Places that contain a bad mix of these features induce unpleasant feelings of dread and fear, and therefore have become important ingredients of the settings for horror fiction and films. This article applies McAndrew and Koehnke’s (2016) theory of creepiness to the study of classic horror settings and explores the role played by architecture, isolation, association with
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Rereading Haunted House Films from a Gothic Perspective ᐙᗞෆ࡟࠶ࡿ༴ᶵ ࢦࢩࢵࢡ◊✲࠿ࡽ ㄞࡳ┤ࡍᗃ㟋ᒇᩜᫎ⏬㸧
Chiho Nakagawa Dangers Inside the Home: Rereading Haunted House Films from a Gothic Perspective ᐙᗞෆ࡟࠶ࡿ༴ᶵ ࢦࢩࢵࢡ◊✲࠿ࡽ ㄞࡳ┤ࡍᗃ㟋ᒇᩜᫎ⏬㸧 Chiho Nakagawa* SUMMARY IN JAPANESE: ᮏㄽᩥࡣ 1970 ᖺ௦࠿ࡽ 80 ᖺ௦ ࡟බ㛤ࡉࢀࡓࠗᐙ࠘ࠊࠗᝏ㨱ࡢ᳇ࡴᐙ࠘ࠊࠗࢩࣕ࢖ࢽࣥࢢ࠘࡞࡝ ࡢᗃ㟋ᒇᩜᫎ⏬ࡀࠊ࢔࣓ࣜ࢝ࡢᐙ᪘ࡢၥ㢟ࢆ᥈ࡿࡶࡢ࡛࠶ࡿ ࡜ᣦ᦬ࡋࠊ 21 ୡ⣖ࡢᗃ㟋ᒇᩜᫎ⏬࡟࠾࠸࡚ࡑࡢၥ㢟ࡀ࡝࠺ ኚ໬ࡋࡓ࠿ࢆ᳨ドࡍࡿࡶࡢ࡛࠶ࡿࠋ⌧௦࢔࣓ࣜ࢝ࡢᗃ㟋ᒇᩜ ᫎ⏬ࡣࠊዪᛶࡀ⮬ศ࡜ᐙ࡜ࡢ㛵ಀࢆ᥈ࡿዪᛶࢦࢩࢵࢡࠊࡑࡋ ࡚ᐙ∗㛗ࡀ⮬ศ࡜ᐙࡢ㛵ಀࢆ᥈ࡿ࢔࣓࣭ࣜ࢝ࣥࢦࢩࢵࢡࡢఏ ⤫ࢆཷࡅ⥅࠸࡛࠸ࡿࠋࡑࡢࣇ࢛࣮࣑ࣗࣛࢆࢹ࢖࣭ࣝ࣋࢖࣮ࣜ ࡢᗃ㟋ᒇᩜ≀ㄒࡢ㆟ㄽ࡟ᇶ࡙࠸࡚♧ࡋࡓୖ࡛ࠊ 1982 ᖺබ㛤 ࡢ࣏ࠗࣝࢱ࣮࢞࢖ࢫࢺ࠘࡜ 2015 ᖺබ㛤ࡢ࣓ࣜ࢖ࢡࡢ㐪࠸ࢆ ୰ᚰ࡟⌧௦ࡢᗃ㟋ᒇᩜᫎ⏬ࢆ⪃ᐹࡍࡿࠋࡑࡢ⤖ᯝࠊ 20 ୡ⣖ ᚋ༙ࡢᗃ㟋ᒇᩜ≀ㄒࡀᐙ∗㛗ไ࣭㈨ᮏ୺⩏♫఍ࡢ∗ぶࡢ⌮᝿ ീࡢኻᩋࢆ᳨ドࡋࡓࡢ࡟ᑐࡋࠊ 21 ୡ⣖࡛ࡣࡑࡢኻᩋࢆㄆࡵ ࡓୖ࡛ಟ᚟࡟ດຊࡍࡿ≀ㄒ࡬࡜ኚ໬ࡋ࡚࠸ࡿ࡜ᣦ᦬࡛ࡁࡿࠋ 㸨୰ᕝࠉ༓ᕹࠉ Associate Professor, Faculty Division of Humanities and Social Sciences, Nara Women's University, Nara, Japan. ࠉ 75 5.中川論文最終稿 Dangers Inside the Home.indd 75 2018/04/16 13:46:21 Dangers Inside the Home: Rereading Haunted House Films from a Gothic Perspective Every year we see new haunted house films, and many directors and writers are taking pains to offer the audience new twists, not just to follow and recreate old tricks. One of the most commercially successful haunted house fi lms in the 1980s, Poltergeist, was remade in 2015, and its reworking refl ects the changes in one of the most important themes of haunted house fi lms, family. In this paper, I will fi rst attempt to defi ne the American haunted house fi lm as an established genre rooted in the formulas of Gothic fi ction.
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Fangoria's Top 20 Hom Etown
FANGORIA HOME/ NEWS MOVIES/ TV REVIEWS BLOGS COMMUNITY REGISTER STORE fango family all the horror screen screams devouring media fango staff speaks connect w ith others join us buy stuff Username •••••• Login Forgot login? | Register MY PROFILE | MY MESSAGES Search.... Search Movies/ TV Fearful Features FANGORIA's Top 20 Hometown Haunts F ANGORIA'S TOP 20 HOM ETOWN HAUNTS RSS F EED Get the FANGO Feed! Last year, Fango posted a list of the top 20 haunts across the U.S. With the most wonderful FANGORIA time of the year quickly approaching, here’s a look at those various spooky locales to check out! At FANGORIA we know Horror, and there is nowhere you can find live movie and video-game NEWSLETTER style FX laden horror than at the best hometown haunted houses in America! They take you into an experience that you won’t soon forget. We have searched for some of the scariest, most over-the-top haunted houses (not including theme parks) and now we present our list of the Top 20 Hometown Haunted Houses in America! So once you've watched your favorite horror movies and survived a zombie attack in LEFT 4 DEAD 2, go out into the October night to one of these terrifying events…and don’t say we didn’t warn you! REVIEWS 1) Netherworld – Norcross, GA (Atlanta area) “PSYCHOSIS” (DVD One of the most creative and ingenious Haunted houses ever created; movie quality special effects, elaborate sets, Review) a powerful acting troupe and remarkably unique scares made Netherworld our #1 Haunted House in 2009! “THE DARKNESS” #89 (Comic Review) “THE SORROW KING” 2) House of Shock - New Orleans, LA (Book Review) “PROOF: ENDANGERED” The House of Shock is one of the most infamous Haunted Attractions in the world! A full horror pre-show features #2 (Comic Review) “DARK DAYS, DARK pyrotechnics, explosions and even a freak show.
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Ann R Winsper Thesis Final Apr 2020
Interpreting Electronic Voice Phenomena: The role of auditory perception, paranormal belief and individual differences by Ann R. Winsper A thesis submitted in partial fulfilment for the requirements for the degree of Doctor of Philosophy at the University of Central Lancashire April 2020 STUDENT DECLARATION FORM Type of Award _PhD_________________________________ School __Psychology__________________________ Sections marked * delete as appropriate 1. Concurrent registration for two or more academic awards *I declare that while registered as a candidate for the research degree, I have not been a registered candidate or enrolled student for another award of the University or other academic or professional institution 2. Material submitted for another award *I declare that no material contained in the thesis has been used in any other submission for an academic award and is solely my own work 3. Collaboration Where a candidate’s research programme is part of a collaborative project, the thesis must indicate in addition clearly the candidate’s individual contribution and the extent of the collaboration. Please state below: ______________________________________________________ 4. Use of a Proof-reader or *No proof-reading service was used in the compilation of this thesis. Signature of Candidate Print name: ___Ann R WInsper__________________________________ 1 Thesis Abstract Electronic Voice Phenomena are anomalous voices that appear on audio recordings (Barušs, 2001) and various techniques have been suggested for obtaining these voices.
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The Haunted House As Literary Motif
Eastern Illinois University The Keep Masters Theses Student Theses & Publications 1982 There's No Place Like Home: The aH unted House as Literary Motif Mary Catherine McDaniel Eastern Illinois University This research is a product of the graduate program in English at Eastern Illinois University. Find out more about the program. Recommended Citation McDaniel, Mary Catherine, "There's No Place Like Home: The aH unted House as Literary Motif" (1982). Masters Theses. 2990. https://thekeep.eiu.edu/theses/2990 This is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. THESIS REPRODUCTION CERTIFICATE TO: Graduate Degree Candidates who have written formal theses. SUBJECT: Permission to reproduce theses. The University Library is receiving a number of requests from other institutions asking permission to reproduce dissertations for inclusion in their library holdings. Although no copyright laws are involved, we feel that professional courtesy demands that permission be obtained from the author before we allow theses to be copied. r-- Please sign one of the following statements: ... .. i ic Booth Library of Eastern Illinois University has my permission to lend £A my thesis to a reputable college or university for the purpose of copying 1: it for inclusion in that institution's library or research holdings. I · � a: w .... {/) :::; I s � .�. 19£;;. � Date Author 0 ! � • 111 <�iii �g I respectfully request Booth Library of Eastern Illinois University not allow my thesis be reproduced because --------------- la: .
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