Robbie Graham

Robbie Graham      (Researcher, Author)
Born	1981
Died	17 February 2023 (Age 41)
Nationality	British
Interests	• UFO • Hollywood
Researcher with an interest in the UFO phenomenon.

Robbie Graham was a British researcher and author. He specialized in film studies that showed how movies are used to shape the perception of the UFO phenomenon and ran August Night Press, a small publishing house specializing in UFO and related topics. Graham died in early 2023.

"UFO Movie" Robbie Graham's Working Definition:

Any movie that taps directly into any aspect of UFO mythology or notably draws inspiration from UFOlogical literature, incorporating into its plot references to frequently debated UFOlogical phenomena, events and locales, as well as specialised UFOlogical terminology.

A UFO movie need not be about UFOs, per se, nor feature traditional UFOlogical iconography, but will nevertheless often devote a respectable amount of its running time to the dramatisation of imagined human/alien interactions, usually - though not always - in the context of a 'first contact' scenario in which the extraterrestrials assume the role of visitor/invader. In other words, the UFO movie frequently is concerned with the problems inherent from a human perspective in earthly encounters with extraterrestrials.

Books

• Silver Screen SaucersSorting Fact from Fantasy in Hollywood’s UFO Movies
• UFOs: Reframing the Debate

Robbie Graham. Silver Screen Saucers, Expanding Reality YT channel, (February 21, 2021)

 

A Document by Robbie Graham

Title	Document type	Publication date	Subject(s)	Description
File:3-graham-and-alford-ufo-perceptions.pdf	paper	2011	UFO Hollywood	A History of Government Management of UFO Perceptions through Film and Television

 

A Quote by Robbie Graham

Page	Quote	Date
Hollywood/Predictive programming	“Cinema has an essential mystical ability to completely detach us from our physical environment and transport us to another, more vivid, realm of perception; a realm where everything is at once illusory, yet strangely real. In film studies, anything that exists within the world of the film is known as diegesis. The cinema screen separates their fictional world from our ‘real’ world. But, actually, the diegesis seeps through the screen into our world, into our subconsciousness. It becomes part of our reality. Key to cinemas’s power is that movies, in their slick, neatly packaged, self-contained way, serve to narrativize and contextualize the events, debates, and processes that constitute our frustratingly non-narrative world. Life rarely makes sense, but movies usually do, and in that we take comfort and, therein lies the problem – movies, no matter how realistic they are in the events they depict, are not real life. They are, at best, reflections of our reality, snapshots of it, simulations of it, skewed and distorted through the ideological framework of those who have made them. Movies masquerade as the final word on a given topic. No matter what the subject, and regardless of how much that subject has already been written about and debated, once it is committed to film – once it has received the full Hollywood treatment – it is embedded firmly and forever into the popular consciousness. Imprinted on our psyche. Plunged into the deep wells of memory and imagination.”	2015

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