Through the combination of ideas of authors, artists, and filmmakers, The House Looks Back forges together the relationship between the medium of photography and its representation of the occult. The following synthesis, The House Looks Back explores how memories operate psychologically and perform as ghosts haunting the present. Through analysis of texts by Geoffrey Batchen, Susan Sontag, and Paul Ricoeur, I explore the relationship between photography and memory. Over the past two centuries, photos have been created with the intent of a memorium, decorated and adorned with fabrics, hand written notes, human hair, and paint. Here I elaborate on memories associated with photography, in particular of family members and its relationship with death. Alongside this, I investigate the vast genre of spirit photography by looking at the photos taken by the Spiritualist movement and written about by Clement Cheroux, Andreas Fischer, Pierre Apraxine, Denis Canguilhem, and Sophie Schmit, as well as the paintings of Hilma af Klint and photography of Shannon Taggart. I also take note of horror cinema’s thematic, aesthetic, and historical terms, by providing analysis to Gothic Novels and Stanley Kubrik’s The Shining. This provides insight to the concept of psychological horror and the supernatural that have been ever present in my research and my making, and the haunted house subgenre as the center of the painted photographs of my family.