Based on his best-selling novel, The Exorcist was written and produced by William Peter Blatty, who worked alongside Hollywood director William Friedkin. The film was influenced by an actual exorcism case involving the supposed demonic possession of a fourteen-year-old boy in a suburb of Washington D.C. A student at the Jesuit Georgetown University at the time, the young Blatty felt that the boy's eventual healing was proof of the devil's existence, and thus the power of God, heaven, and faith.

The film recounts the story of Regan, a pre-pubescent girl living with her single mother, Chris MacNeil, in a posh Georgetown suburb. All is going well until Chris hears strange sounds in the attic, which is followed by a series of peculiar behaviors elicited by Regan. She becomes unruly, urinates in front of guests, and uses gratuitous profanity among other things.

Her mother is shocked and desperate, so quickly consults a team of doctors for her care. Regan undergoes several intensely painful medical procedures, but nothing seems to give definitive physical results. After the death of a family friend and her continually dangerous behavior, the doctors 'give up' and resort to religious means. They suggest the ritual of an exorcism in helping Regan get back to her usual self.

Chris approaches Father Karras to perform the exorcism. After much hesitation and doubt on his part, he eventually agrees to do so under the instruction of the experienced Father Merrin. What ensues is a fight between good and evil, where both sides pay a price for the liberation of little Regan.

Overall, The Exorcist proved to be a breakthrough in contemporary horror film, setting the stage for future successes in this genre. On the surface, the film was popular because of its cinematic craftsmanship, successfully achieving basic elements of a horror film and portraying supernatural events as highly realistic for its time. Additionally, on a deeper level, its exploration of controversial issues tapped into the true fears and concerns of crowds at large. Both of these cinematic and thematic aspects contributed to the film's wide appeal.

This annotated bibliography provides a brief list of sources that investigate these topics.

(It should be noted that there are certainly several controversial themes highlighted in the film. Such include, but are not limited to: female and child victimization, uncontrollable youth, violation and disfigurement of the body, offensive language, sexual vulgarity, desecration of the Catholic Church, breakdown of the family, destruction of the home, etc. Since this project only entails ten items, I have chosen to focus on one overarching issue that the film forces us to contemplate--the roles of religion and science/modern day medicine in the healing process. I present four sources that offer differing views on this; the other six describe cinematic techniques, of which two assess their credibility based on audience reaction.)

Ferracuti, Stefano and Sacco, Roberto.  "Dissociative Trance Disorder: Clinical and Rorscharch Findings."  Journal of Personality Assessment.  66.3 (1996).  10 May 2008. .

Ferracuti and Sacco, two psychiatrists, conducted a study on non-psychiatric individuals who believed they were possessed by the devil. From a biomedical perspective, the purpose of their research was to better understand and potentially classify their unique behaviors. After receiving permission from the official exorcist of the Rome diocese, subjects were recruited from weekly exorcisms. Participants, who all strongly followed the Roman Catholic faith, were administered the Dissociative Disorders Diagnostic Schedule, Roscharch Test, and clinical interviews.

Findings suggest that DTD is a distinct clinical manifestation on a dissociative continuum. It shares many personality features with Dissociative Identity Disorder (DID, formerly known as Multiple Personality Disorder), such as altered states of consciousness with a foreign identity, problems in control, psychological complexity, and feelings of guilt. However, those specifically with DTD use extreme dissociation for regenerative purposes, only performing the ‘possessed’ behaviors in a socially accepted, safe, and controlled environment. Otherwise known as an exorcism in the Catholic Church, this setting allows people to reorganize their inner conscious state around an image of “evilness”, thus allowing the expression of inappropriate and unacceptable behaviors. The belief in a state of possession functions as an external control for the low capacity for ego integration and reality distortion manifested by these individuals. In other words, the Church provides coping devices that work as effective therapeutic mechanisms, in which possession serves to fulfill various needs by giving people a chance to let out repressed feelings and develop a more organized ego framework. The exorcist works as a guide in this endeavor, eventually helping people control their socially denied impulses while simultaneously replenishing their faith.

Had the authors not known about the individuals’ religious beliefs, the diagnosis would have been high-functioning neurotic with DID, instead of DTD. They consider the major differences between DTD and DID attributable to traditional cultural attitudes, which influence the belief in possession. Claims of ‘possession’ signify an effort towards ego integration, giving people a sense of security and thus revealing the importance of exorcism as a valuable religious practice.

Their study directly relates to an issue in The Exorcist: if possession is a ‘real’ phenomenon, what does it look like? Also, where does one draw the line between mental illness, where science is most useful, and possession, in which religion offers the best treatment? Ferracuti and Sacco emphasize how DTD can be understood as a psychiatric condition with problems in ego dissociation, potentially treatable through psychotherapy and other biomedical means. However, they also acknowledge the importance of cultural beliefs in shaping its outcome. The possession state exists to those who believe in it, and consequently, many fans were curious enough to reconsider their religious commitment, as well as their views on the causes and remedies of mental psychopathology. This once taboo issue quickly became the center of attention for some time.

In “Part I: The Exorcist as Hero”, Cuneo describes America's surprisingly widespread fascination with exorcism. He points out two major contributing factors: the influence of the mainstream entertainment industry and the impact of contemporary cultural attitudes on society.

He discusses the novel and film of The Exorcist, claiming that its instant media attention sparked an avid interest in the healing power of faith. Since Blatty created the narrative from a supposed exorcism case, audiences across the nation had difficulty in separating reality from fantasy. Cuneo believes there was an overwhelming consensus regarding the image of the two Fathers who performed the exorcism--that of self-sacrificing heroes who commanded respect for the Church. It was not their scientific expertise that helped them wage the battle against evil, but rather their faith and knowledge of mysterious powers that saved Regan.

Consequently, from the mid to late-1970s, almost every media outlet concerned itself with exorcism and its validity. Newspapers, radio casts, talk shows, and even a series of related films were released (Devil Times Five, The Possessed, Good Against Evil, etc.). Furthermore, possibly because the entertainment industry is known to shape public opinion and capture the national psyche, there was a sudden increase in possession cases reported to Catholic rectories.

Throughout the rest of the section, he argues that modern US culture supports the use of exorcism. It is apparently readily available, cheap and fast; it does not require a lot of time and investment like many other treatments. Exorcism practices are also morally exculpatory, in that they place the blame of one’s problems outside of the self—it is essentially a guilt-free process. These are all precisely American values. In addition, it can even be seen as an alternative therapy. Since the current biomedical system is often unfeeling, heavily bureaucratic, and too technical, such therapies are seen as comforting and supportive. In line with Cuneo’s ideas, instead of seeing the problem as cholesterol or genes, many Americans actually think of it as a demon. Exorcism offers the possibility of a fresh start—a rebirth of sorts.

However, he acknowledges the fact that not everyone is equally influenced by the media nor our current cultural ideals. He maintains that exorcism is a “ritualized placebo”—those who want it to work, will believe it to work, and will actually feel changes as a result.

In continuation, though Cuneo watched hundreds of exorcisms, he never witnessed any strange happenings. He attributed many conditions to sound medical, social, or psychological causes. Since people report its efficacy though, he concludes that the practice has the potential to be advantageous, but not in the ways as advertised by the media.  One can only judge its effectiveness on a personal level.  Overall, American exorcism tests the limits of traditional religious values, pop culture, and current beliefs in psycho-spiritual healing practices, thus shaping the face of modern religion.