Simon Bacon is an independent scholar based in Poznan, Poland. Lucifer, Gabriel, and the Angelic Will in The Prophecy and ConstantineĪdvocating for Satan: The Parousia-Inspired Horror Genre “Roaming the Earth”: Satan in The Last Temptation of Christ and The Passion of the Christ The Satanic Complications of Female Autonomy in The Witches of Eastwick and The Witch The Devil’s in the Details: Devilish Desire and Roman Polanski’s The Ninth Gate The Weird Devil: Lovecraftian Horror in John Carpenter’s Prince of Darkness
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The Antichristology of the Omen Franchise What’s the Deal with the Devil? The Comedic Devil in Four Filmsįrom the Eternal Sea He Rises, Creating Armies on Either Shore:
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The Sign of the Cross: Georges Méliès and Early Satanic Cinemaīarry C.
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Her writing on film, folklore, and the supernatural has appeared in the Wall Street Journal Review and the children’s magazine Dig Into History. Her works include the edited volumes Supernatural, Humanity and the Soul (with Susan George 2014) and Roman Catholicism in Fantastic Film, and a special Stephen King issue of Science Fiction Film and Television (with Simon Brown 2017), along with the novel The Coming Storm (Atheneum 2021). She publishes and presents on horror, religion in film, neo-Victorianism, and the fantastic. He has authored or edited twenty-four books, the most recent of which are The Monster Theory Reader (2019), Critical Approaches to Welcome to Night Vale: Podcasting Between Weather and the Void (2018), The Cambridge Companion to American Gothic (2018), and The Age of Lovecraft (2016). Jeffrey Andrew Weinstock is professor of English at Central Michigan University and an associate editor of the Journal for the Fantastic in the Arts. Telotte, Jeffrey Andrew Weinstock Authors & Distributors Knowlton, Murray Leeder, Catherine O’Brien, R. Fowkes, Regina Hansen, David Hauka, Russ Hunter, Barry C. Guiding the contributions to this volume is the overarching idea that cinematic representations of Satan reflect not only the hypnotic powers of cinema to explore and depict the fantastic but also shifting social anxieties and desires that concern human morality and our place in the universe. Loosely organized chronologically by film, though some chapters address more than one film, this collection studies such classic movies as Faust, Rosemary’s Baby, The Omen, Angel Heart, The Witch, and The Last Temptation of Christ, as well as the appearance of the Devil in Disney animation. From the inception of motion pictures in the 1890s and continuing into the twenty-first century, these essays examine what cinematic representations tell us about the art of filmmaking, the desires of the film-going public, what the cultural moments of the films reflect, and the reciprocal influence they exert. Films featuring the devil, therefore, are not just flights of fancy but narratives, sometimes reinforcing, sometimes calling into question, a familiar belief system. Satan is instead a force active in our lives. This collection explores how the devil is not just one monster among many, nor is he the “prince of darkness” merely because he has repeatedly flickered across cinema screens in darkened rooms since the origins of the medium. Giving the Devil His Due is the first book of its kind to examine the history and significance of Satan onscreen. As humankind’s greatest antagonist and the incarnation of pure evil, the cinematic devil embodies our own culturally specific anxieties and desires, reflecting moviegoers’ collective conceptions of good and evil, right and wrong, sin and salvation. The first collection of essays to address Satan’s ubiquitous and popular appearances in film Lucifer and cinema have been intertwined since the origins of the medium.