{'fraction_non_alphanumeric': 0.022922636103151862, 'fraction_numerical': 0.0057306590257879654, 'mean_word_length': 5.025862068965517, 'pattern_counts': {'":': 0, '<': 0, '<?xml version=': 0, '>': 0, 'https://': 0, 'lorem ipsum': 0, 'www.': 0, 'xml': 0}, 'pii_count': 0, 'substrings_counts': 0, 'word_list_counts': {'cursed_substrings.json': 0, 'profanity_word_list.json': 0, 'sexual_word_list.json': 0, 'zh_pornsignals.json': 0}}
Skeletons Sail an Etheric Ocean: Approaching the Ghost in John Carpenter's The Fog

Different critical approaches to the conception of the ghost either emphasize history, especially traumatic history, as a shadowy half-presence in the present, or else they treat the ghost as a by-product of the gaps technologies of transmission and recording create between the spirit and the body. The author argues that both conceptions of the ghost are evident in John Carpenter's The Fog (1980) and that they prove highly reconcilable. He also discusses how the film's ghosts represent the return of a repressed history but are also linked, via the ocean, to the disembodied world of communication technology.