The Devil has been represented in many film genres, including horror, comedy, the musical, fantasy, satire, drama, and the religious epic, and in these works has assumed many shapes and forms. This book begins with a discussion of how the devil has been portrayed on stage, how that portrayal carried over to the big screen, and what are the standard elements of a satanic plot. Each entry in the filmography includes year of production, running time, writer, editor, cinematographer, producer, and director, evaluative rating, annotated cast list, plot synopsis, overall appraisal, and a spotlight on the actor playing Satan.

Finalist, 2021 Bram Stoker Awards (Superior Achievement in Non-Fiction) The first collection of essays to address Satan’s ubiquitous and popular appearances in film Lucifer and cinema have been intertwined since the origins of the medium. As humankind’s greatest antagonist and the incarnation of pure evil, the cinematic devil embodies our own culturally specific anxieties and desires, reflecting moviegoers’ collective conceptions of good and evil, right and wrong, sin and salvation. Giving the Devil His Due is the first book of its kind to examine the history and significance of Satan onscreen. This collection explores how the devil is not just one monster among many, nor is he the “prince of darkness” merely because he has repeatedly flickered across cinema screens in darkened rooms since the origins of the medium. Satan is instead a force active in our lives. Films featuring the devil, therefore, are not just flights of fancy but narratives, sometimes reinforcing, sometimes calling into question, a familiar belief system. From the inception of motion pictures in the 1890s and continuing into the twenty-first century, these essays examine what cinematic representations tell us about the art of filmmaking, the desires of the film-going public, what the cultural moments of the films reflect, and the reciprocal influence they exert. Loosely organized chronologically by film, though some chapters address more than one film, this collection studies such classic movies as Faust, Rosemary’s Baby, The Omen, Angel Heart, The Witch, and The Last Temptation of Christ, as well as the appearance of the Devil in Disney animation. Guiding the contributions to this volume is the overarching idea that cinematic representations of Satan reflect not only the hypnotic powers of cinema to explore and depict the fantastic but also shifting social anxieties and desires that concern human morality and our place in the universe. Contributors: Simon Bacon, Katherine A. Fowkes, Regina Hansen, David Hauka, Russ Hunter, Barry C. Knowlton, Eloise R. Knowlton, Murray Leeder, Catherine O’Brien, R. Barton Palmer, Carl H. Sederholm, David Sterritt, J. P. Telotte, Jeffrey Andrew Weinstock

THE STORY: Jabez Stone, young farmer, has just been married, and the guests are dancing at his wedding. But Jabez carries a burden, for he knows that, having sold his soul to the Devil, he must, on the stroke of midnight, deliver it up to him. Shortly before twelve Mr. Scratch, lawyer, enters and the company is thunderstruck. Jabez bids his guests begone; he has made his bargain and will pay the price. His bride, however, stands by him, and so will Daniel Webster, who has come for the festivities. Webster takes the case. But Scratch is a lawyer himself and out-argues the statesman. Webster demands a jury of real Americans, living or dead. Very well, agrees the Devil, he shall have them, and ghosts appear. Webster thunders, but to no avail, and at last realizing Scratch can better him on technical grounds, he changes his tactics and appeals to the ghostly jury, men who have retained some love of country. Rising to the height of his powers, Webster performs the miracle of winning a verdict of Not Guilty.

'An irresistible page-turner that reads like the most compelling, sleep defying fiction' TIME OUT One was an architect. The other a serial killer. This is the incredible story of these two men and their realization of the Chicago World's Fair of 1893, and its amazing 'White City'; one of the wonders of the world. The architect was Daniel H. Burnham, the driving force behind the White City, the massive, visionary landscape of white buildings set in a wonderland of canals and gardens. The killer was H. H. Holmes, a handsome doctor with striking blue eyes. He used the attraction of the great fair - and his own devilish charms - to lure scores of young women to their deaths. While Burnham overcame politics, infighting, personality clashes and Chicago's infamous weather to transform the swamps of Jackson Park into the greatest show on Earth, Holmes built his own edifice just west of the fairground. He called it the World's Fair Hotel. In reality it was a torture palace, a gas chamber, a crematorium. These two disparate but driven men are brought to life in this mesmerizing, murderous tale of the legendary Fair that transformed America and set it on course for the twentieth century . . .

When it comes to Hollywood, Christians too quickly wash their hands of popular culture and leave this immensely influential media to unbelievers. In truth, the industry is listening. There is a church in Hollywood, but too often their work is unrecognized. Behind the Screen offers a glimpse of Hollywood insiders who, through their jobs on movie sets, behind TV shows, and in radio broadcasts, work together to give glory to God. With contributions from the writers and producers of such productions as Joan of Arcadia, Mission Impossible, Batman Forever, That '70s Show, and others, believers everywhere are encouraged to join with the church in Hollywood and do their part in closing the gap between Christianity and culture.

Screening the Afterlife is a unique and fascinating exploration of the ‘last things’ as envisaged by modern filmmakers. Drawing on a range of films from Flatliners and What Dreams May Come to Working Girl and The Shawshank Redemption, it offers the first comprehensive examination of death and the afterlife within the growing field of religion and film. Topics addressed include: the survival of personhood after death the language of resurrection and immortality Near-Death Experiences and Mind-Dependent Worlds the portrayal of ‘heaven’ and ‘hell’. Students taking courses on eschatology will find this a stimulating and thought provoking resource, while scholars will relish Deacy’s theological insight and understanding.

The 525 notable works of 19th and 20th century American fiction in this reference book have many stage, movie, television, and video adaptations. Each literary work is described and then every adaptation is examined with a discussion of how accurate the version is and how well it succeeds in conveying the spirit of the original in a different medium. In addition to famous novels and short stories by authors such as Nathaniel Hawthorne, F. Scott Fitzgerald, and Willa Cather, many bestsellers, mysteries, children's books, young adult books, horror novels, science fiction, detective stories, and sensational potboilers from the past two centuries are examined.