Post-modern (1970-present)

The 1970s saw screen depictions of ghosts diverge into distinct genres of the romantic and horror. A common theme in the romantic genre from this period is the ghost as a benign guide or messenger, often with unfinished business, such as 1989's Field of Dreams, the 1990 film Ghost, and the 1993 comedy Heart and Souls.^[88] In the horror genre, 1980's The Fog, and the A Nightmare on Elm Street series of films from the 1980s and 1990s are notable examples of the trend for the merging of ghost stories with scenes of physical violence.^[81]

Popularised in such films as the 1984 comedy Ghostbusters, ghost hunting became a hobby for many who formed ghost hunting societies to explore reportedly haunted places. The ghost hunting theme has been featured in reality television series, such as Ghost Adventures, Ghost Hunters, Ghost Hunters International, Ghost Lab, Most Haunted and A Haunting. It is also represented in children's television by such programs as The Ghost Hunter and Ghost Trackers. Ghost hunting also gave rise to multiple guidebooks to haunted locations, and ghost hunting "how-to" manuals.

The 1990s saw a return to classic "gothic" ghosts, whose dangers were more psychological than physical. Examples of films from this period include 1999's The Sixth Sense, The Others, and HBO's 2001-2005 series Six Feet Under.

Asian cinema has also produced horror films about ghosts, such as the 1998 Japanese film Ringu (remade in the US as The Ring in 2002), and the Pang brothers' 2002 film The Eye.^[89] Indian ghost movies are popular not just in India, but in the Middle East, Africa, South East Asia and other parts of the world. Some Indian ghost movies such as the comedy / horror film Chandramukhi have been commercial successes, dubbed into several languages.^[90] Generally the movies are based on the experiences of modern people who are unexpectedly exposed to ghosts. They usually draw on traditional Indian literature or folklore, but in some cases are remakes of western movies, such as Anjaane, based on Alejandro Amenábar's ghost story The Others.^[91]

In fictional television programming, ghosts have been explored in series such as Supernatural, Ghost Whisperer and Medium. In animated fictional television programming, ghosts have served as the central element in series such as Casper, Danny Phantom, and Scooby-Doo. Various other television shows have depicted ghosts as well.

Modern Era (1920 to 1970)

Professional parapsychologists and “ghosts hunters”, such as Harry Price, active in the 1920s and 1930s, and Peter Underwood, active in the 1940s and 1950s, published accounts of their experiences with ostensibly true ghost stories such as Price's The Most Haunted House in England, and Underwood's Ghosts of Borley (both recounting experiences at Borley Rectory).

Children’s benevolent ghost stories became popular, such as Casper the Friendly Ghost, created in the 1930s and appearing in comics, animated cartoons, and eventually a 1995 feature film.

Noël Coward's play Blithe Spirit, later made into a film, places a more humorous slant on the phenomenon of haunting of individuals and specific locations.

With the advent of motion pictures and television, screen depictions of ghosts became common, and spanned a variety of genres; the works of Shakespeare, Dickens and Wilde have all been made into cinematic versions. Novel-length tales have been difficult to adapt to cinema, although that of The Haunting of Hill House to The Haunting in 1963 is an exception.^[81]

Sentimental depictions during this period were more popular in cinema than horror, and include the 1947 film The Ghost and Mrs. Muir, which was later adapted to television with a successful 1968-70 TV series.^[81]Genuine psychological horror films from this period include 1944's The Uninvited, and 1945's Dead of Night.

The 1949 Mahal (Hindi: महल; Urdu: محل; English: The Mansion) was a groundbreaking Hindi language movie directed by Kamal Amrohi and starring Ashok Kumar and Madhubala, one of the earliest knownBollywood films dealing with reincarnation. Mahal became one of the biggest box office hits of 1949 in India.^[86] The movie paved the way for Indian gothic fiction.^[87]

Main article: List of ghost films

Victorian/Edwardian (1840 to 1920)

The "classic" ghost story arose during the Victorian period, and included authors such as M. R. James, Sheridan Le Fanu, Violet Hunt, and Henry James. Classic ghost stories were influenced by the gothic fiction tradition, and contain elements of folklore and psychology. M. R. James summed up the essential elements of a ghost story as, “Malevolence and terror, the glare of evil faces, ‘the stony grin of unearthly malice', pursuing forms in darkness, and 'long-drawn, distant screams', are all in place, and so is a modicum of blood, shed with deliberation and carefully husbanded...”^[83]

Famous literary apparitions from this period are the ghosts of A Christmas Carol, in which Ebenezer Scrooge is helped to see the error of his ways by the ghost of his former colleague Jacob Marley, and the ghosts of Christmas Past, Christmas Present and Christmas Yet to Come.

Oscar Wilde's comedy The Canterville Ghost has been adapted for film and television on several occasions. Henry James's The Turn of the Screw has also appeared in a number of adaptations, notably the film The Innocents and Benjamin Britten's opera The Turn of the Screw.

Oscar Telgmann's opera Leo, the Royal Cadet (1885) includes Judge's Song about a ghost at the Royal Military College of Canada in Kingston, Ontario.^[84]

Kwaidan: Stories and Studies of Strange Things is a 1904 collection of Japanese ghost stories collected by Lafcadio Hearn, and later made into a film.

In the United States, prior to and during the First World War, folklorists Olive Dame Campbell and Cecil Sharp collected ballads from the people of the Appalachian Mountains, which included ghostly themes such as The Wife of Usher's Well, The Suffolk Miracle, The Unquiet Grave, and The Cruel Ship's Carpenter. The theme of these ballads was often the return of a dead lover. These songs were variants of traditional British ballads handed down by generations of mountaineers descended from the people of the Anglo-Scottish border region.^[85]

Renaissance to Romanticism (1500 to 1840)

One of the more recognizable ghosts in English literature is the shade of Hamlet's murdered father in Shakespeare’s The Tragical History of Hamlet, Prince of Denmark. In Hamlet, it is the ghost who demands that Prince Hamlet investigate his "murder most foul" and seek revenge upon his usurping uncle, King Claudius. In Shakespeare’s Macbeth, the murdered Banquo returns as a ghost to the dismay of the title character.

John Dee and Edward Kelleyinvoking the spirit of a deceased person (engraving from theAstrology by Ebenezer Sibly, 1806).

In English Renaissance theater, ghosts were often depicted in the garb of the living and even in armor, as with the ghost of Hamlet’s father. Armor, being out-of-date by the time of the Rennaissance, gave the stage ghost a sense of antiquity.^[79] But the sheeted ghost began to gain ground on stage in the 19th century because an armored ghost could not satisfactorily convey the requisite spookiness: it clanked and creaked, and had to be moved about by complicated pulley systems or elevators. These clanking ghosts being hoisted about the stage became objects of ridicule as they became clichéd stage elements. Ann Jones and Peter Stallybrass, in Renaissance Clothing and the Materials of Memory, point out, "In fact, it is as laughter increasingly threatens the Ghost that he starts to be staged not in armor but in some form of 'spirit drapery'." An interesting observation by Jones and Stallybrass is that

...at the historical point at which ghosts themselves become increasingly implausible, at least to an educated elite, to believe in them at all it seems to be necessary to assert their immateriality, their invisibility. The drapery of ghosts must now, indeed, be as spiritual as the ghosts themselves. This is a striking departure both from the ghosts of the Rennaissance stage and from the Greek and Roman theatrical ghosts upon which that stage drew. The most prominent feature of Rennaissance ghosts is precisely their gross materiality. They appear to us conspicuously clothed.

Ghosts figured prominently in traditional British ballads of the 16th and 17th centuries, particularly the “Border Ballads” of the turbulent border country between England and Scotland. Ballads of this type include The Unquiet Grave, The Wife of Usher's Well, and Sweet William's Ghost, which feature the recurring theme of returning dead lovers or children. In the ballad King Henry, a particularly ravenous ghost devours the king’s horse and hounds before forcing the king into bed. The king then awakens to find the ghost transformed into a beautiful woman.^[80]

One of the key early appearances by ghosts in a gothic tale was The Castle of Otranto by Horace Walpole in 1764.^[81]

Washington Irving's short story The Legend of Sleepy Hollow (1820), based on an earlier German folktale, features a Headless Horseman. It has been adapted for film and television many times, such as Sleepy Hollow, a successful 1999 feature film.^[82]

United States

Further information: Ghosts of the American Civil War and Shadow people

According to the Gallup Poll News Service, belief in haunted houses, ghosts, communication with the dead, and witches had an especially steep increase over the 1990s.^[77] A 2005 Gallup poll found that about 32 percent of Americans believe in ghosts.^[78]

Tibet

Main article: Ghosts in Tibetan culture

There is widespread belief in ghosts in Tibetan culture. Ghosts are explicitly recognized in the Tibetan Buddhist religion as they were in Indian Buddhism,^[76] occupying a distinct but overlapping world to the human one, and feature in many traditional legends. When a human dies, after a period of uncertainty they may enter the ghost world. A hungry ghost (Tibetan: yidag, yi-dvags; Sanskrit: preta, प्रेत) has a tiny throat and huge stomach, and so can never be satisfied. Ghosts may be killed with a ritual dagger or caught in a spirit trap and burnt, thus releasing them to be reborn. Ghosts may also be exorcised, and an annual festival is held throughout Tibet for this purpose. Some say that Dorje Shugden, the ghost of a powerful 17th-century monk, is a deity, but the Dalai Lama asserts that he is an evil spirit, which has caused a split in the Tibetan exile community.

Mexico

Main article: Ghosts in Mexican culture

There is extensive and varied belief in ghosts in Mexican culture. The modern state of Mexico before the Spanish conquest was inhabited by diverse peoples such as the Maya and Aztec, and their beliefs have survived and evolved, combined with the beliefs of the Spanish colonists. TheDay of the Dead incorporates pre-Columbian beliefs with Christian elements. Mexican literature and movies include many stories of ghosts interacting with the living.

India

Main article: Bhoot (ghost)

A bhoot or bhut (भूत, ભૂત, or بهوت) is a supernatural creature, usually the ghost of a deceased person, in the popular culture, literature and some ancient texts of the Indian subcontinent. Interpretations of how bhoots come into existence vary by region and community, but they are usually considered to be perturbed and restless due to some factor that prevents them from moving on (to transmigration, non-being, nirvana, or heaven or hell, depending on tradition). This could be a violent death, unsettled matters in their lives, or simply the failure of their survivors to perform proper funerals.^[75]

In Central and Northern India, Shaman spirit guides play a central role.^{[citation needed]}. It duly happens when in the night someone sleeps and decorates something on the wall and they say that if one sees the spirit the next thing in the morning he will become a spirit to and that to a konto kata which means a spirit without a head and the soul of the body will remain the dark with the dark lord from the spirits who reside in the body of every human in Central and Northern India. It is also believed that if someone calls you from behind never turn back and see because the spirit may catch the human to make it a spirit. Other types of spirits in Hindu Mythology include Baital, an evil spirit who haunts cemeteries and takes demonic possession of corpses, and Pishacha, a type of flesh-eating demon.

Japan

Main article: Yūrei

Yūrei (幽霊^?) are figures in Japanese folklore, analogous to Western legends of ghosts. The name consists of two kanji, 幽 (yū), meaning "faint" or "dim" and 霊 (rei), meaning "soul" or "spirit". Alternative names include 亡霊 (Bōrei) meaning ruined or departed spirit, 死霊 (Shiryō) meaning dead spirit, or the more encompassing 妖怪 (Yōkai) or お化け (Obake).

Like their Chinese and Western counterparts, they are thought to be spirits kept from a peaceful afterlife.

European folklore

Further information: Revenant (folklore), Necromancy, Samhain, Halloween, and All Souls' Day

Belief in ghosts in European folklore is characterized by the recurring fear of "returning" or revenant deceased who may harm the living. This includes the Scandinavian gjenganger, the Romanian strigoi, the Serbianvampir, the Greek vrykolakas, etc. British folklore is particularly notable for its numerous haunted locations.

Belief in the soul and an afterlife remained near universal until the emergence of atheism in the 18th century. In the 19th century, spiritism resurrected "belief in ghosts" as the object of systematic inquiry, and popular opinion in Western culture remains divided.^[74]

China

There are many references to ghosts in Chinese culture. Even Confucius said, "Respect ghosts and gods, but keep away from them."^[73]

The ghosts take many forms, depending on how the person died, and are often harmful. Many Chinese ghost beliefs have been accepted by neighboring cultures, notably Japan and south-east Asia. Ghost beliefs are closely associated with traditional Chinese religion based on ancestor worship, many of which were incorporated in Taoism. Later beliefs were influenced by Buddhism, and in turn influenced and created uniquely Chinese Buddhist beliefs.

Many Chinese today believe it possible to contact the spirits of their ancestors through a medium, and that ancestors can help descendants if properly respected and rewarded. The annual ghost festival is celebrated by Chinese around the world. On this day, ghosts and spirits, including those of the deceased ancestors, come out from the lower realm. Ghosts are described in classical Chinese texts as well as modern literature and movies.

A recent article in the China Post stated that nearly eighty seven percent of Chinese office workers believe in ghosts, and some fifty two percent of workers will wear hand art, necklaces, crosses, or even place a crystal ball on their desks to keep ghosts at bay, according to the poll.

Austronesia

Main articles: Malay ghost myths, Ghosts in Filipino culture, and Ghosts in Polynesian culture

Spirit of the Dead Watching by Paul Gauguin

There are many Malay ghost myths, remnants of old animist beliefs that have been shaped by later Hindu, Buddhist and Muslim influences in the modern states ofIndonesia, Malaysia and Brunei. Some ghost concepts such as the female vampires Pontianak and Penanggalan are shared throughout the region. Ghosts are a popular theme in modern Malaysian and Indonesian movies. There are also many references to Ghosts in Filipino culture, ranging from ancient legendary creatures such as theManananggal and Tiyanak to more modern urban legends and horror movies. The beliefs, legends and stories are as diverse as the people of the Philippines.

There was widespread belief in ghosts in Polynesian culture, some of which persists today. After death, a person's ghost normally traveled to the sky world or the underworld, but some could stay on earth. In many Polynesian legends, ghosts were often actively involved in the affairs of the living. Ghosts might also cause sickness or even invade the body of ordinary people, to be driven out through strong medicines.^[72]