If you took one look at the existence of the new movie Ghost Town and dismissed it on account of its familiarity, you’re ignoring the potential of one of the most valuable plot devices available to fiction. Sure, the employment of ghosts in a narrative may also be evidence of laziness, as the device is just as much a convenience as it is a useful tool for storytellers. Not everyone can be Shakespeare, and of course there is a lot of redundancy and (excuse the pun) lifelessness in the majority of movies involving ghosts.

However, ghosts can also be highly representative and/or serve a film on a deeper level than the surface story. To use another pun, ghost movies are not always so transparent. Like zombies, their plot-device sibling, ghosts have a way of signifying greater ideas, subjects and themes, and aren’t always merely about scares and talking-to-thin-air gags. In a conversation with Cinematical’s Erik Davis, Ghost Town director/co-writer David Koepp had this to say about the significance of ghost stories:

Part of the reason they’re so enduring is because, well, first off all they give hope — because if they are ghosts, then it means we don’t die when we die. But also because they work really well in a number of genres. Ya know, in a drama like Ghost, or a horror movie, suspense or comedy in our case — I just think they offer so many dramatic possibilities; to have someone that’s dead, but still around to talk about it really suggests a lot of great situations.

Okay, so that bit of promotional fluff is actually more about the literal dramatic qualities of the ghost device than the figurative and subtextual, but the quote at least jumpstarted my thinking. Initially I had thought about simply outlining how ghosts have been applied to different film genres, but then I fortunately switched my goal to seek out ten specific ghost films (from the seemingly thousands out there) that utilize the device for more meaningful purpose.

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It’s probably going too far to suggest, as I’m tempted to, that Spine Tingler: The William Castle Story should be considered a foundational document for anyone interested in the film marketing revolution that began with the fall of the studio system and which still shapes the way most Americans learn about and consume movies today. Admittedly, you cant say that Jeffrey Schwartz’ staggering of talking head interviews with competent After Effects animation is the stuff that reinvents genres; Schwarz makes a living making behind-the-scenes docs for the DVD releases of Hollywood films, and stylistically, at least, that shows here. But despite its formal limitations, Spine Tingler is a vibrant and vital work of pop film historiography, and for a certain type of cinephile (myself included), it should be required viewing.

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Photo via zizzybaloobah @ Flickr.

I landed in Sarasota around 2:00 yesterday afternoon, and by the time I was standing in line for my first film an hour later, the sore throat I’d been carrying around for three weeks in New York since returning from SXSW had miraculously disappeared. It would be hard to overstate how magical this place feels in contrast to the cold, gray, post-global warming non-spring of New York City. It’s 80 degrees here and sunny; my hotel’s right on the beach. And I’m working. Feel free to hate me––I would.

Speaking of work, I saw two films yesterday, Throw Down Your Heart and Spine Tingler: The William Castle Story, both of which I’ll be writing about shortly. More soon.

Slamdance has announced their 2008 lineup. On first glance, three documentary titles immediately pop out:

• I Think We’re Alone Now (Documentary Feature Competition): Labeled “stalkers” by the media, Jeff and Kelly profess their love for the 80’s pop icon, Tiffany.
• Spine Tingler! The William Castle Story (Twilight Screenings): A chronicle of the last great American showman, filmmaker William Castle, a master of ballyhoo who became a brand name in movie horror with his outrageous audience participation gimmicks.
• Wesley Willis’ Joyride (Documentary Feature Competition): An underground rock icon and revered artist, the late, great Wesley Willis attracted and offended people from all walks of life. The film follows the prolific and controversial artist on his journey from obscurity to cult hero.

indieWIRE has the full report.

Another Halloween season is ’round the corner, and that means Lionsgate is promoting yet another Saw movie and yet another tie-in blood drive. Paul sent me an email this morning, asking my thoughts on this “softer side of torture porn.” I’m certainly not against it–at the end of the day, it’s just William Castle stuff with a humanitarian twist. But it is interesting that last year, although Saw III grossed about $7 million less domestically than its predecessor, the 2006 blood drive more than doubled the volume collected in 2005. As the films have become less popular with the general public and more of a niche concern, Lionsgate’s influence over that core, horror fan audience has seemingly increased.

Or maybe, they’re just moving away from the torture and upping the porn.

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