The Aural Aesthetics Of Ghosts in BBC Ghost Stories – Part 9 (Conclusions).

Part 1. Part 2. Part 3. Part 4. Part 5. Part 6. Part 7. Part 8. Conclusions. “If its central characteristics remained immune to change, the ghost story did keep pace with the times through progressive modernization of settings and language.” – Cox (xix, 1991). From analysis of the BBC Ghost Stories, it is clear that the narrative function of the supernatural has a natural … Continue reading The Aural Aesthetics Of Ghosts in BBC Ghost Stories – Part 9 (Conclusions).

The Aural Aesthetics Of Ghosts In BBC Ghost Stories – Part 8 (The Signalman).

Part 1. Part 2. Part 3.Part 4. Part 5. Part 6. Part 7. The Signalman And Aural Paranoia Over Dickensian Technology. “For those who look back on it, the Victorian age seems to be invested with a peculiar quality of difference – heightened by its relative proximity in time – that is reflected in its ghosts.  It was an age shaped, perhaps more than any … Continue reading The Aural Aesthetics Of Ghosts In BBC Ghost Stories – Part 8 (The Signalman).

The Aural Aesthetics Of Ghosts In BBC Ghost Stories – Part 7 (Haunted Objects).

Part 1. Part 2. Part 3. Part 4. Part 5. Part 6. “The Ghost In The Machine”: The Haunting Nature Of Unnatural Diegetic Sound. “M.R. James’ objects are imbued with our deepest fears, deepest terrors and resonances.  The whistle can bring up a storm or bring a monster from the deep.  The crown, that if you touch, its guardian will tear you to pieces.” – … Continue reading The Aural Aesthetics Of Ghosts In BBC Ghost Stories – Part 7 (Haunted Objects).

The Aural Aesthetics of Ghosts in BBC Ghost Stories – Part 3 (William Ager).

Part 1. Part 2. A “Disembodied Voice” of some form is a clear norm for representing a creature that, by its very definition, is now bodiless.  This means that, as an aural technique, it is used frequently throughout many other ghost stories as well.  In Lawrence Gordon Clark’s films, the aural trait occurs several times with different and varying effects, though never with the layered … Continue reading The Aural Aesthetics of Ghosts in BBC Ghost Stories – Part 3 (William Ager).

The Aural Aesthetics of Ghosts in BBC Ghost Stories – Part 2 (The Disembodied Voice).

Part 1. The Aural-Thematic Ties In BBC Ghost Stories. “He first began to write the ghost stories for which he is now famous in late 1892 or early 1893 while he was a fellow of King’s.  They were composed initially to be read aloud in his college rooms as a Christmas treat for his friends.”-  Oliver (p.15, 2012). When looking at the source material for … Continue reading The Aural Aesthetics of Ghosts in BBC Ghost Stories – Part 2 (The Disembodied Voice).

The Aural Aesthetics of Ghosts in BBC Ghost Stories – Part 1 (Introduction).

Manifesting The Supernatural: The Aural Aesthetics Of Ghosts In BBC Ghost Stories. Introduction. “When Monty first began to write them, with the intention of inducing a pleasing terror in his listeners, he did so as an avid and discerning reader and connoisseur of the genre, keenly aware of his precedents and of the characteristics, objectives, and limitations of the ghost story as he understood the … Continue reading The Aural Aesthetics of Ghosts in BBC Ghost Stories – Part 1 (Introduction).