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 – Christopher Partridge, Lancaster University, UK

– Jeffrey J. Kripal, Rice University, TX, USA

– Bill Ellis, Professor Emeritus, Penn State University, USA

The Paranormal and Popular Culture

Interest in preternatural and supernatural themes has revitalized the Gothic

tale, renewed explorations of psychic powers, and given rise to a host of
social and religious movements based upon claims of the fantastical. And
yet, in spite of this widespread enthusiasm, the academic world has been
slow to study this development. This volume rectifies this gap in current
scholarship by serving as an interdisciplinary overview of the relationship
of the paranormal to the artifacts of mass media (e.g., novels, comic books,
and films) as well as to the cultural practices they inspire.
After an introduction analyzing the paranormal’s relationship to religion
and entertainment, the book presents essays exploring its spiritual significance
in a postmodern society, its (post)modern representation in literature and
film, and its embodiment in a number of contemporary cultural practices.
Contributors from a number of disciplines and cultural contexts address
issues such as the shamanistic aspects of Batman and lesbianism in vampire
mythology.
Covering many aspects of the paranormal and its effect on popular culture,
this book is an important statement in the field. As such, it will be of utmost
interest to scholars of religious studies as well as media, communication and
cultural studies.

Darryl Caterine is a professor of religious studies at Le Moyne College,

USA. He is the author of
(2011) and a number of articles and chapters on the paranormal,
including essays in
, and
the .

John W. Morehead is an academic researcher and writer specializing in new

religious movements as well as religion and popular culture. His writing
includes a chapter on Matrixism for
; entries on Paganism for ; and the
co-editing and editing of volumes on religion and pop culture including
, ,
, and . He
blogs at www.TheoFantastique.com.
Routledge Studies in Religion

Religious Studies Scholars as Public Intellectuals

Religious Boundaries for Sex, Gender, and Corporeality

Christian Mysticism’s Queer Flame

Spirituality in the Lives of Contemporary Gay Men

Treating the Body in Medicine and Religion

Jewish, Christian, and Islamic Perspectives

Hinduism and Hindu Nationalism Online

The Desecularisation of the City

London’s Churches, 1980 to the Present

Government Surveillance of Religious Expression

Mormons, Quakers, and Muslims in the United States

Religion and Human Security in Africa

The Paranormal and Popular Culture

A Postmodern Religious Landscape

For more information about this series, please visit: www.routledge.com/

religion/series/SE0669
The Paranormal and
Popular Culture
A Postmodern Religious Landscape

Edited by Darryl Caterine and

John W. Morehead
First published 2019
by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
and by Routledge
52 Vanderbilt Avenue, New York, NY 10017

© 2019 selection and editorial matter, Darryl Caterine and John W.

Morehead; individual chapters, the contributors
The right of Darryl Caterine and John W. Morehead to be identified
as the authors of the editorial material, and of the authors for their
individual chapters, has been asserted in accordance with sections 77
and 78 of the Copyright, Designs and Patents Act 1988.
All rights reserved. No part of this book may be reprinted or
reproduced or utilised in any form or by any electronic, mechanical,
or other means, now known or hereafter invented, including
photocopying and recording, or in any information storage or
retrieval system, without permission in writing from the publishers.
: Product or corporate names may be trademarks
or registered trademarks, and are used only for identification and
explanation without intent to infringe.

A catalogue record for this book is available from the British Library

A catalog record for this book has been requested

ISBN: 978-1-138-73857-7 (hbk)
ISBN: 978-1-315-18466-1 (ebk)
Typeset in Sabon
by Apex CoVantage, LLC
Contents

x
xiv

Introduction 1
DARRYL CATERINE

PART I
The return of the sacred11

1 What can the paranormal in popular culture tell us about

our relationship with the sacred in contemporary society? 13
MADELEINE CASTRO

2 Paranormal medicine 28
CHARLES F. EMMONS

3 The right to a narrative: metamodernism, paranormal

horror, and agency in The Cabin in the Woods 42
LINDA C. CERIELLO AND GREG DEMBER

4 The Dark Knight Rises: shamanic transformations

in Gotham City 55
JACK HUNTER

5 These lovers are out of this world: sex, consent, and

the rhetoric of conversion in abductee narratives 68
ELIZABETH LOWRY

6 The mystery of everything out there: Bigfoot and

religion in the 21st century 78
JOSHUA PADDISON
viii
7 The haunters and the hunters: popular ghost hunting
and the pursuit of paranormal experience 92
LEO RUICKBIE

PART II
The spell of occulture105

8 Religions of the red planet: fin de siècle Martian romances 107

CHRISTA SHUSKO

9 Paranormal women: the “sexual revolution” and female

sexuality in Hammer Studios’ Karnstein Trilogy 120
JAY DANIEL THOMPSON

10 “We’re ready to believe you!” Spiritualism and

the interpretation of paranormal experience
in Ghostbusters (1984) 133
MATTHEW N. ANDERSON AND COLLIN L. BROWN

11 Jesus and the undead: resurrected bodies in scripture

and the zombie apocalypse 147
KELLY J. MURPHY

12 Haunting the ghost of Mark Twain 160

ANN M. RYAN

13 Accounts of high strangeness: a Brazilian perspective

on the paranormal and popular culture 173
LEONARDO MARTINS

14 How the Necronomicon became real: the ecology of a legend 184

JOSEPH P. LAYCOCK

15 Miranda Barbour and the construction of a

“satanic cult” murder 198
DANIEL LINFORD

16 “What would you do when . . .?”: Ostensive play

in the zombie apocalypse narrative 212
BRENT C. AUGUSTUS
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 ix
17 Paranormal beliefs, new religious movements, and
the New Age spiritual milieu 225
JAMES R. LEWIS AND SVERRE ANDREAS FEKJAN

18 Cryptofiction! Science fiction and the rise of cryptozoology 240

JUSTIN MULLIS

19 When did fairies get wings? 253

SIMON YOUNG

20 A contactee canon: Gray Barker’s Saucerian Books 275

GABRIEL MCKEE

Conclusion 289
JOHN W. MOREHEAD

297
Contributors

Matthew N. Anderson holds an MA in Slavic languages and literatures from

the University of Texas at Austin. He has spoken at multiple events on the
topic of vampire lore and literature and has presented a conference paper
on grimoires in film. He currently lives in Austin, Texas, where he works
as a church administrator and as a freelance writer and artist.
Brent C. Augustus is a PhD candidate in the folklore department at Memo-
rial University of Newfoundland, Canada. His research interests include
folk narrative with a particular focus on legend, contemporary legend,
rumor and panics, popular culture, and, more generally, fear and its
expressions in cultures past and present.
Collin L. Brown is a PhD student at the University of Texas at Austin. His
areas of focus include religious studies and folklore, as well as magic and
witchcraft. Additionally, he has presented on these topics at the Kalama-
zoo International Medieval Congress. He is currently writing his disserta-
tion on the depiction of indigenous beliefs and practices in the writings
of missionaries.
Madeleine Castro is currently a senior lecturer in interdisciplinary psychol-
ogy at Leeds Beckett University. She has an interest in paranormal, trans-
cendent, and extraordinary experiences – particularly regarding sense
making and meaning. She is also interested in contemporary forms of
spirituality, transpersonal psychology, and feminism. Her most recent
research explores the emergence of the Red Tent movement in contem-
porary UK society.
Darryl Caterine is a professor of religious studies at Le Moyne College,
USA. He is the author of
(2011) and a number of articles and chapters on the
paranormal, including essays in

, and the .
Linda C. Ceriello recently received her PhD in religion at Rice Univer-
sity. Her dissertation examines narratives of mystical and nonordinary
 xi
experience using critical theories of popular culture. She also writes a lot
about monsters. Publications include “The Big Bad and the Big ‘Aha!’:
Metamodern Monsters as Transformational Figures of Instability” in

., edited by Michael E. Heyes (Lexington Books, 2018) and

“Toward a Metamodern Reading of Spiritual-but-Not-Religious Mys-
ticisms” in ,
edited by William Parsons (Routledge 2018). She is co-founder and edi-
tor, with Greg Dember, of the web journal (https://
whatismetamodern.com). She serves on the steering committee for the
Religion and Popular Culture group of the American Academy of Reli-
gion and currently divides her time between Vashon Island, WA, and
Winston-Salem, NC.
Greg Dember is a songwriter/musician, blogger, computer programmer,
independent cultural researcher, and Joss Whedon fanboy. He is currently
at work on a book on metamodernism entitled
. He is the co-founder and editor, with Linda C. Ceriello, of the
website and also of the web magazine
(http://artocratic.
com). He is based in Seattle, where he serves on the board of Washington
Lawyers for the Arts as artist representative.
Charles F. Emmons is a sociologist at Gettysburg College. His books
include (2017), (1997); and
co-authored with Penelope Emmons (2003, 2018) and
(2012). He is a member of the Society for Scientific
Exploration, Compassionate Wellbeing, and Exploring the Extraordi-
nary. His current research is on spiritual healing and integrative medicine.
Sverre Andreas Fekjan is a PhD student in history at the University of
Tromsø, Norway. He has collaborated on numerous research projects
and with James R. Lewis has co-authored articles on new religious move-
ments published in peer-reviewed journals.
Jack Hunter is an anthropologist exploring the borderlands of conscious-
ness, religion, ecology, and the paranormal. He lives in the hills of
Mid-Wales with his family. His doctoral research with the University of
Bristol examined the experiences of spirit mediums and their influence
on the development of self-concepts and models of consciousness and
is an effort toward a nonreductive anthropology of the paranormal. He
is the author of (2012)
and (2018), editor of
(2015),
(2016), and co-editor with
Dr. David Luke of
(2014). You can find out more about his work at www.jack-
hunter.webstarts.com.
xii
Joseph P. Laycock is an assistant professor of religious studies at Texas State
University. His research examines American religious history, new reli-
gious movements, and moral panic. His most recent book is

.
James R. Lewis is Professor of Religious Studies at the University of Tromsø,
Norway. His extensive publications in the field of new religious move-
ments include
(2004) and (2003). He is also
the general editor of the Brill Handbooks on Contemporary Religion
series and co-editor of Ashgate’s Controversial New Religions series.
Elizabeth Lowry received her PhD in rhetoric and composition from Ari-
zona State University, where she is now a senior lecturer. She is the author
of
(SUNY , 2017) and
(Palgrave, 2017).
Daniel Linford is a PhD student in the philosophy department at Purdue
University. He is currently pursuing research at the intersection of phi-
losophy of religion, philosophy of science, and ethics.
Leonardo Martins has a master’s and PhD in social psychology. He is a
postdoctoral researcher at the Inter Psi – Laboratory of Anomalistic Psy-
chology and Psychosocial Processes. He is also a member of the Labora-
tory of Social Psychology of Religion (LabPsiRel), both at the Institute of
Psychology, University of São Paulo, Brazil. Research foci: religious and
anomalous experiences and beliefs.
Gabriel Mckee is Librarian for Collections and Services at the Institute for the
Study of the Ancient World at New York University. His research interests
include the intersection of science fiction and theology, church history and
heresy, the fiction and philosophy of Philip K. Dick, small press and coun-
terculture bibliography, and flying saucer contactee literature.
John W. Morehead is an academic researcher and writer specializing in new
religious movements as well as religion and popular culture. His writing
includes a chapter on Matrixism for
; entries on Paganism for ; and the
co-editing and editing of volumes on religion and pop culture includ-
ing , ,
, and
. He blogs at www.TheoFantastique.com.
Justin Mullis has a MA in religious studies from the University of North
Carolina in Charlotte. His work primarily deals with the interpretation
of fan cultures as religious movements and includes explorations of fan-
doms through contributions to
 xiii
(2017) and
(2018). He also writes on the topic of Japanese science-
fiction, most recently for the book
(2017).
Kelly J. Murphy is an associate professor in the department of philoso-
phy and religion at Central Michigan University. She is the co-editor of
(For -
tress Press 2016), and a co-series editor for Lexington Books/Fortress
Academic’s series .
Joshua Paddison is an historian of religion, race, and the North American
West. He received his PhD in history from UCLA in 2008. He is author
of
(2012). He teaches for the history department at Texas State Univer-
sity. He is currently at work on a new book project,
.
Leo Ruickbie (PhD, King’s College) is a sociologist of religion specializing in
paranormal beliefs and experience, currently employed by the Society for
Psychical Research. He is the editor of the , and the
author of several books, including (2004
and 2011), (2012), and
(2013).
Ann M. Ryan is a professor of American literature at Le Moyne College. She
is co-editor and contributor to , the past president
of the Mark Twain Circle of America, and former editor of
.
Christa Shusko (PhD religion, Syracuse University) is an assistant professor
of religious studies at York College of Pennsylvania. Her publications
include “Criticising the Dead: The Oneida Community and Spiritual-
ism” in (Brill, 2015) and
“Alcohol Consumption, Transgression, and Death” in

(University of Kentucky Press, 2018).

Jay Daniel Thompson lectures in the media and communications program
in the School of Culture and Communication at the University of Mel-
bourne. His research interests include writing for digital media, gender
and sexuality studies, and media rhetoric.
Simon Young is a British historian based in Italy; he teaches at the Univer-
sity of Virginia Program in Siena (CET). Young is the editor with Ceri
Houlbrook of (Gibson Square,
2017) and has published some 50 notes and articles on folklore and the
supernatural.
Acknowledgments

Thanks to J. Gordon Melton and Jeffrey Kripal for their influence and
example in scholarship on the paranormal, Joe Laycock for his insights and
assistance at crucial points in the preparation of this volume, and Jana Bie-
sanz for her tireless efforts in proofreading.
Introduction

For the last half century, a fascination with the paranormal has overtaken
the Western world. Circulating through the internet and a number of mass-
media venues, this renewed passion for preternatural tales has revitalized
the Gothic genre, spurred on countless searches for otherworldly beings,
and set in motion a number of social and religious movements based upon
claims of the marvelous. And now the groundswell has begun to attract the
attention of scholars as well. Breaking rank with an older consensus that
cast the paranormal as a frivolous concern in the study of modern religion,
academics in a number of fields are increasingly pointing to this turn in
popular culture as an especially illuminating, and indeed integral, feature
of an unprecedented religious landscape presently taking shape in the post-
modern era.
The chapters in this volume bear testimony to the fruits of this new wave
of scholarship. Their findings are consistent with Christopher Partridge’s
thesis that paranormal pop culture, or “occulture,” has arisen in the 21st
century to “reenchant” the secularized West (Partridge 2004).1 Even as
membership in organized religions continues to decline in both Europe
and the United States, fans of the paranormal persevere in their efforts to
imagine, or even make contact with, worlds beyond this one. Occulture, in
other words, is not simply a form of entertainment. It is, rather, a species
of the “spiritual but not religious” mentalité that is quickly growing as the
preferred religious self-identification in postmodern societies, as a form of
religiosity that thrives beyond the purview of any institution.2
The indeterminate nature of the paranormal, both as a category of analy-
sis and as a description for its myriad themes, runs as a common thread
throughout the full range of subject matter covered in this volume. Why
is it so difficult, we might ask at the outset, to say exactly what the term
“paranormal” denotes? After all, it is a word that has circulated in the
English language for well over a century, having been coined originally to
refer to extrasensory perception.3 Today, however, it is used as an adjec-
tive to describe certain beliefs that are ambiguously associated with reli-
gion, in which case it is synonymous with “mystical” or “supernatural”
and also with science, in which case it is often interchangeable with
2
“pseudoscientific.” Alternately, “ paranormal” can be used as a noun
to describe a class of beings and phenomena, say, extraterrestrials, chakras,
and spontaneous combustion, which at first glance seem to have nothing in
common with each other at all.
There are at least two approaches we can take to defining such an ambiv-
alent term. The first is by exploring how the subjects that our culture marks
as “paranormal” overlap with those of religion but are not identical to
them. In this context, we can better understand why the notions of mysti-
cism, supernaturalism, and even pseudoscience are often used, misleadingly,
as substitute terms. The second is to trace the emergence of the paranormal
as a particular form of modern entertainment. Here we gain perspective
on how “the paranormal” has come to refer to so many diverse kinds of
phenomena. Once we have made our way through these issues, we can bet-
ter appreciate why occulture has returned in recent decades as an especially
alluring feature of the postmodern religious landscape and an uncanny
reflection of everyday life for millions of fans.

The paranormal and religion

It might seem natural to associate today’s interest in the paranormal with a
straightforward rise in belief of some kind. Pollsters have given this impres-
sion in surveys about rates of “belief” in UFOs, hauntings, reincarnation,
and so forth, but such a conclusion is misleading. Ethnographic studies on
paranormal culture suggest that something that is labeled “paranormal”
is in fact a phenomenon that is doubted, probed, and investigated.4 People
who actively investigate or think about the paranormal are involved in an
exploration of possibilities rather than certainties.
Rice University historian of religion Jeffrey Kripal defines the paranormal
as “the sacred in transit from the religious and scientific registers into a par-
ascientific or ‘science mysticism’ register” (Kripal 2010, 9). The concept of
“the sacred” in this definition refers to an experience of or encounter with
the “wholly other,” one that awakens an overwhelming sense of wonder.5
Religious practitioners commemorate such events in the lives of their found-
ers as instances of divine revelation or unparalleled spiritual awakenings
and base entire theologies or codes of religious law in attempts to draw out
their meanings.
By acknowledging the sacred as integral to the study of the paranormal,
Kripal points to the analogous power of events recorded by occulture. Such
phenomena as near-death experiences or encounters with alien beings mir-
ror the sacred because they cannot easily be explained away as a feature of
ordinary life and because they evoke powerful emotional states for their
beholders. But here the comparison ends. In the paranormal context, won-
ders do not necessarily elicit long-lasting attempts to draw out their meaning
and implications for human conduct. Rather, they are celebrated as myster-
ies surpassing the abilities of both religion and science to affix it meaning.
 3
Paranormal events can thus be likened to miracles in search of definitive
religious interpretation or anomalies in search of a scientific one.
Having said this, claims of sacred encounters in the modern context have
also catalyzed a third interpretative framework – Kripal’s “parascientific
or ‘science mysticism’ register” – combining elements of both religion and
science into a new synthesis. This worldview is typically a pantheistic or
panentheistic one, espousing a vision of the natural world as a conscious
field made up of many levels or realms that interact with our universe. In
this interpretation, the various anomalies are understood as features of
the world-as-mind and/or manifestations of intelligence originating from
unseen regions of the cosmos. Such parascientific narratives have catalyzed
the formation of what Wouter Hanegraaff calls modern esoteric movements
or what Catherine Albanese describes as the various branches of American
metaphysical religion.6
The understanding of the paranormal as a tertium quid, or third way, in
between science and religion, can be traced back to the writings of Fred-
eric W.H. Myers, lead theorist of England’s Society of Psychical Research
(SPR). The SPR was inaugurated in 1882 to advance the empirical study
of a variety of phenomena popularized by the Victorian era’s penchant
for séances and explorations of altered states of consciousness. In their
explanations of anomalies, early psychical researchers broke from all pre-
vious theories, both religious and scientific. Today’s term “paranormal” is
in fact a variant of Myers’s 1885 neologism, “supernormal,” a term that
he invented to refer to an as-yet-to-be-explained power of the human mind
itself.7 Myers explained that a supernormal phenomenon did not contra-
dict the natural laws of science but instead “exhibits them in an unusual or
inexplicable form.”8

A brief history of the paranormal and popular culture

If we turn to the role that popular culture has played in fostering interest in
the paranormal, the Gothic novel clearly emerges as the earliest forerunner
of present-day occulture. It is in the pages of Horace Walpole’s
(1764) that the sacred first begins its migration from the reli-
gious register to the scientific one. Set in the Middle Ages, Walpole’s seminal
Gothic tale was replete with a smorgasbord of supernaturalisms, including
curses, ghosts, and phantasmic limbs appearing out of thin air. Readers were
thrilled by a breathless ride through the fantastic world of the Catholic past
but ultimately learned that it was a world founded on groundless supersti-
tions. The Gothic genre’s focus on medieval otherness, be this a fascination
with the era’s Catholic or folkloric tropes, would eventually mutate into the
horror and fantasy tales of 20th-century pulp fiction and then into cinema
as well.
In its original context, Gothic fiction served to delegitimize the political
authority of Christendom by unmasking religious belief as spurious and
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