Rurbanism is a silly buzzword for what one might call the “urban-rural confluence.” In other words, it’s what happens when city dwellers leave their metropolitan environments for the country and bring their cultural interests with them.
In Tim Burton’s 1988 film “Beetlejuice,” Charles Deetz (Jeffrey Jones) relocates his eccentric family from New York City to a country house in the fictional town of Winter River, Connecticut, following a nervous breakdown. His artist wife, Delia (Catherine O’Hara), is initially unhappy with the decision. “Charles, I will not stop living and breathing art just because you need to relax!” she protests. But when they discover that the house is haunted, Delia can’t get enough of the supernatural antics (translation: artists are weird and they like weird things).
The ghosts haunting them, the recently deceased Adam and Barbara Maitland (played by Geena Davis and Alec Baldwin before he was scary in real life), are the polar opposites of the Deetzes. Mild mannered and humble, all they want is for the intruding urbanites to leave them in peace. Meanwhile, Delia has already begun redecorating the house to remove any trace of their rustic sensibilities as Charles plots ways to profit from the paranormal spectacle (translation: city slickers are greedy and they only care about money).
Helping Delia to transform her drab surroundings is a catty interior designer named Otho (Glenn Shadix). The smirking Otho, who struts about in black suits and kimonos, is here to make sure you know that anyone interested in contemporary aesthetics is an asshole. “You’re lucky the yuppies are buying condos,” he tells Charles, “so you can afford what I’m going to have to do to this place.” What he does involves a lot of faux granite finish, glass block windows and comical yellow slabs that jut out of the house’s façade.
For her part, Delia seems even more high-strung and fragile out of her comfort zone than her nerve-wracked hubby. While the movers are handling her sculptures, which look like props from a dinosaur’s Halloween party, she barks at them to be careful. From the looks on their faces, it’s clear the men do not recognize the value of her work, and when Delia accidentally gets pinned underneath one of her own pieces, she totally deserves it.
After they modernize the place, they Deetzes host a dinner party for their nasty city friends, one of whom writes for Art in America. The group hurls insults at one another across the dining room table, but their bickering is ultimately interrupted when they are supernaturally possessed by Adam and Barbara. Spoiling their cool aloofness, the ghosts manipulate them like puppets, forcing them to do the calypso and lip-sync to Harry Belafonte.
The Deetzes and their paranormal cohabitants eventually find a way to coexist, largely facilitated by their daughter, Lydia (Winona Ryder), who can liaise with the dead because she’s goth. Delia even channels spectral inspiration into her sculpture and lands the cover of Art in America.
While Winter River, Connecticut, doesn’t actually exist, rurbanism is a very real phenomenon in towns like Hudson, New York. The upstate community, with a population of roughly 6,700 people, has seen a recent influx of New York City galleries opening secondary spaces on its main drag, Warren Street. A couple of blocks away is the future site of the Marina Abramović Institute (MAI), a museum space for “long-durational works.” No doubt, if the Deetzes were around, they would be trolling Hudson’s real estate market for haunted houses.