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While Fielding is relating this part of the story, additional lighting for the show has been added, casting bright green and red light on the walls, giving an added eeriness to this documentary footage, while also underlining its artificiality. At one point while descending these stairs, Fielding breaks off her narration for an inserted “reconstructed” shot: filmed as a monochrome renegativized image (giving the illusion that the image is a negative and perhaps reflecting the negative connotations of this violent spirit) and with the action highly sped up, a young man descends the stairs, moves toward the camera, and then disappears. But just before the image disappears and we return to Fielding’s narration, the “presence” shakes its head very rapidly with a rattling noise on the soundtrack. We return to Fielding, who notes that some people descending these stairs are actually pushed by persons unknown or unseen. There are two more insert shots of the negative spirit still present doing his sped-up head shake. Visually, at no point do these two figures occupy the screen at the same time (they may in fact be played by the same person), but the effect is one of causality—that the “negative spirit” pushed the other man. This lengthy description of this sequence does not do it justice: not that this is a brilliant example of television artistry, but this entire sequence on the steps, including Fielding’s narration, runs for only twenty-four seconds. The artificial lighting, the use of renegativized monochrome, the slowed-down and sped-up action are all technical tricks that underline the artificiality of this section of the episode. In many respects, beyond following in the tradition of tabloid TV shows, this introductory section of each Most Haunted episode functions to key the television audience to interpret the forthcoming phenomena within the context of the narratives just related. If we see each episode as a televised legend trip, this section conforms to what Gary Hall (1973) noted regarding the telling of scary stories prior to such adolescent adventures: As important as form is in legend-telling, the “legend atmosphere” or “general scary condition” is just as crucial to the effectiveness of this type of narrative. More specifically, the “scariness” of the legend-trip is a result of: (1) the foreboding appearance of the legend site, (2) legend-telling, and (3) the atmosphere of tension and uncertainty generated by the trip. During the legend-trip, in fact, the young people cultivate an atmosphere of fear; they try to frighten one another; they seek out contact with the supernatural and attendant dangers. (170) The highly artificial legend and memorate section of each Most Haunted episode is more than just contrived television. It creates this “general scary condition” in the location prior to the investigation proper. This section of the episode, then, primes the belief pump as it were. The first part of an episode’s investigation begins with a psychic walkabout: the show’s psychic or psychics are filmed touring the site, in normal videographic style, and picking up on any residual or grounded spirit information. These sequences tend to run for approximately fifteen minutes and so make up a considerable amount of on-screen time.

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In 47 Below, we join Australian doctor Geoff Wilson in his attempt to complete a coast-to-pole crossing of Antarctica, to honor a friend’s fight with breast cancer. In doing so, he transformed one of his equipment carriers into a “boob sled,” painted pink and designed to resemble a pair of, yes, breasts. To survive, he had to battle ferocious blizzards, with winds exceeding 100 kilometers per hour, frostbite, deadly crevasses, loss of food and key equipment, and Antarctica’s terrifying isolation. Dogs would have provided some warmth and companionship, at least. Hell’s Kitty is an exception, if only for people who believe a pet can be possessed by the devil and make dating a hellish experience for its owner. Such is the case with aspiring screenwriter Nick Tana, whose obsession with his cat blinds him to the fact that friends, lovers and acquaintances are dying in its company. When relatives of the victims come to him asking questions, Nick scrambles to defend his pet. Typically, Hell’s Kitty would be a one-gag-per-episode experience, if it weren’t for some nifty editing. In the 98-minute feature cobbled together from the segments, it succeeds through the large number of cameos by familiar actors and lots of jokes only a dog lover would fully grasp. By the time Nick is convinced to have a kitty exorcism, most viewers will be sold on the picture, I think. Among the actors who pop up more than once are Nina Hartley, Michael Berryman, Adrienne Barbeau, Bill Oberst Jr. Doug Jones, Creep Creepersin and Lynn Lowry. It’s difficult to imagine they could be paid much, if anything for their contributions. Two years later, such talk would be greeted with derision and outright revolt, but it almost sounded reasonable before the first war with Iraq. On the eve of an abandoned hospital’s demolition, a large group of party-hardy yuppies gathers in its empty surgical theaters and waiting rooms to dance to EDM delivered at a pulsating 150-beats-per-minute. It’s 1992 and the president is about to be swept out of office by Bill Clinton. When Rachel (Sara Bess), Branson (Jared Sullivan) and other ravers are ushered into the illegal party, they are handed a hallucinogenic drug that inspires nightmarish visions and leaves them open to torture by malevolent forces.

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