![]() Firstly, the commercial use of spirit photographs within the spiritualist movement suggests that the circulation of these images was not exclusively informed by matters of belief. This article calls for a more solid insertion of spiritualism’s visual culture into the pre-history of film practice, giving three main cases in support of the relationship between spirit photography and early cinema. ![]() However, arguing for a relationship of direct filiation between spirit photography and the tricks employed in film remains problematic, especially given that spirit pictures were entangled with matters of religious belief. As several scholars have noted, the use of superimposition effects in cinema to conjure such apparitions as ghosts, fairies, devils, and other fantastic creatures finds a significant precedent in spirit photography, a spiritualist practice by which the image of one or more spirits was ‘magically’ captured on a photographic plate. ![]()
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