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Haunting Hands looks closely at the consequences of digital media's ubiquitous presence in our lives, in particular the representing, sharing, and remembering of loss. From Facebook tribute pages during public disasters to the lingering digital traces on a smartphone of the deceased, the digital is both extending earlier memorial practices and creating new ways in which death and loss manifest themselves. The ubiquity of digital specters is particularly evident in mobile media spanning smartphones, iPads, iPhones, or tablets. Mobile media entangle various forms of social, online and digital media in specific ways that are both intimate and public, and yet the use of mobile media in contexts of loss has been relatively overlooked. Haunting Hands seeks to address this growing and important area by helping us to understand the relationship between life, death, and our digital after-lives.
From smartphones to tablets, mobile media is increasingly playing a central role in the representation, sharing, and experience of events public and private, formal and informal. Drawing on cross-cultural fieldwork, Haunting Hands considers the role mobile media practices and rituals provide as fundamental insights into contemporary notions of life, death, and loss.
Set in the silent film era, in Astoria, Queens, a film director is illegally renting a supply of radium to use in his production of "Toreador of Love". A disembodied hand emerges briefly from under Margot's bed, then vanishes. Later, the hand is found under the floorboards. Whose arm was it, and why was it put under the floor?
An actress stars in her own off-screen mystery in this Golden Age whodunit from the award-winning Jamaican novelist, poet, and historian. Though originally a medical student specializing in chemistry, twenty-five-year-old Margot Anstruther decides to try her luck as an actress and gets cast in her first role for the Superfilm Company. With the studio’s boorish director taking a personal interest in her, Margot finds herself caught in the middle of two men: her boss and her increasingly jealous suitor, Gene Varley. One night, alone in her midtown Manhattan apartment after a party, Margot is shocked to find a hand reaching out from under her bed. Though Gene and the police find no sign of an intruder, Margot refuses to believe in a supernatural cause. She puts her scientific mind to work delving into her apartment’s strange past—a recent tenants’ disappearance—and walking a fine line between the complicated passions of friends and rivals . . .
Spectral visions, footsteps in the attic, thumps in the night. Who hasn't witnessed or heard such things and not thought of ghosts? Join your guide, author Jack Powell, on a wild ride from Pensacola to Jacksonville and down to Key West, touring Florida's places and history through some of its best ghost stories. Powell has woven together a creepy collection of tales. Explore the darker side of the Sunshine State. What horrible fate awalted the pirates lover in Pensacola? Care to check out the last crop Edgar Watson planted on his farm in the Everglades? When will the ghost leave baby Carlys room?
Dead Hands traces the fascinating career of a curious imaginative device: the wandering, disembodied, or ghostly hand. Dexterously threading historical, theoretical, and formalist questions, the author situates this familiar gothic convention in its rich literary and intellectual contexts, from early modern English drama through American fiction.
The hands of colonized subjects - South Asian craftsmen, Egyptian mummies, harem women, and Congolese children - were at the crux of Victorian discussions of the body that tried to come to terms with the limits of racial identification. While religious, scientific, and literary discourses privileged hands as sites of physiognomic information, none of these found plausible explanations for what these body parts could convey about ethnicity. As compensation for this absence, which might betray the fact that race was not actually inscribed on the body, fin-de-siècle narratives sought to generate models for how non-white hands might offer crucial means of identifying and theorizing racial identity. They removed hands from a holistic corporeal context and allowed them to circulate independently from the body to which they originally belonged. Severed hands consequently served as 'human tools' that could be put to use in a number of political, aesthetic, and ideological contexts.
The wild sweep of Dartmoor is home to countless ghosts, spirits, and ghouls as well as hundreds of Dartmoor ponies, sheep, and the inhabitants of the towns and villages dotted across this ancient, windswept moorland. Containing a chilling range of spooky tales, from ghostly sightings of a large black hound at Hound Tor, a phantom procession of monks near Buckfast Abbey, medieval horsemen galloping across the moor, and a cavalier at Chagford, to poltergeist activity at a medieval castle and the notorious, disembodied Hairy Hands of Dartmoor, claimed to be responsible for forcing motorists off the B3212 road on dark, cold nights, this volume is guaranteed to make your blood run cold. Illustrated with 60 photographs, and featuring eyewitness interviews and previously unpublished investigation accounts carried out by the author and the Supernatural Investigations team, Haunted Dartmoor will send a chill up the spine of all who read it.
“When I was between the ages of five and eight, my sister and I slept in a large attic bedroom. At nightfall the room was filled with gypsies who glided around in clusters. They wore colorful thin flowing dresses and rummaged greedily through my drawers and books as if they would steal everything. I lay in bed as stiff as a board, trying to will myself invisible, praying they would not notice me looking . . . Daylight obliterated the gypsies, rendering them as thoroughly insubstantial as they had been real in the dark. I had a vague understanding that my vision was private, so I never told my family what I saw.” So began Corinne May Botz’s fascination with the invisible, a phenomenon that has profoundly influenced her approach to photography in style and subject matter. For more than ten years, she searched for ghost stories in buildings across the United States. She ventured into these haunted places with both camera and tape recorder in hand; her photographs, accompanied by first-person narratives, reveal a rare glimpse into American interiors, both physical and psychological. This book includes more than eighty haunted buildings, from the legendary to the ordinary, including Edgar Allan Poe’s house in Baltimore, a New Jersey tavern, and a Massachusetts farmhouse, a log cabin in Kentucky, and a number of private residences. The text includes ghost stories told to the author by those who lived through the moving rugs, creaking floors, apparitions, disappearing—and reappearing—objects, cries in the night, mysteriously burning candles, and other unexplained occurrences.