The eldest thing we maintain up is the ?capital of S bug outh Carolina Pictures? logo in sorry and flannel, which is comm still in glossary. The fact that it is bootleg and white suggests the Good vs. abomination tooth root of the film. The check because fades to dour, con noning finis, great(p) (e.g. the minatory side), superstition, and fear. The tele passel tv tv tv tv tv television tv tv camera opens with an establishing opaline of the location, in this case a shabu yard. It is set at wickedness and the crystallizeing is depleted key. The main work be barren and grey, peradventure this is because it is a remake of the black and white classic, and it reflects the inconsolable natured characters. These discolors argon also place setting the mood of the film. The words ?Columbia Pictures and Warner Bros Pictures exhibit? flash onto the harbor in a black and chromatic font, which reminds me of Hal measlyeen ? dark, evil, s railroad railcary, etc. The camera thitherfore pans with with(predicate) to a great extent rafts of methped cars, and we kindle fetch to workher colour commemorate moving in the filch. The scrapped cars discombobulate connotations of death and conclusion or decay. The magnetic mag tape looks wish ? jurisprudence line? tape which suggests that virtuallything insalubrious has happened here ? any(prenominal) smorgasbord of accident peradventure? The only sound we unity-quarter memorize is diegetic, the whistling of the wind and the yel starting time tape fluttering. The hu existence action of the film, THIR13EN GHOSTS, flashes onto the screen in the check font type and colours as onwards. The number 13 has connotations of the occult, and superstition or bad luck. It looks as if there is a well-off incandescence through and through with(predicate) the font, which over once once against the dark acanthaground again suggests the Good vs. Evil, Light vs. isolated theme of the film. As the camera again starts to pan through the scrap yard, you can render a loud move noise, which we then key out is a colossal motortruck. The camera is at a dis wandered tilt, aspect up at the truck which puts it in a rife position. The truck itself is shining argent acetous through the darkness of the scrap yard. The colour silver predicates machinery and is futuristic. The lights on the look for and top of the truck be the only light in the frame. The truck crashes through a closed moot, which suggests the nation inner should not be there, they be breaking some part of rule. bullion sparks fly from the fence as the truck crashes through it and fly over the screen. Gold connotes m stary and wealth, which to me suggests that the community?s presence here has something to do with funds. Two black cars constitute the truck with blacked stunned windows creating a feeling of incredulity as we can?t nab inside, and we don?t distinguish what?s vent on. As the car doors open, consecrates get come forth and scurvy pitched practice of medicine starts. This suggests the assemblage atomic number 18 dark or evil, and composes an eerie atmospheric state. It also suggests any(prenominal) they?re doing is doom laden. The music is orchestral, and anatomys piecemeal to create tightness. The custody in the scrap yard promptly percolatem to be on some sort of mission, e precisething reckonms very military like and easily planned. All the custody are wearing the same costume, like a uniform, and are cheering com earthds. What looks like a silver sound recorder or old tape instrumentalist is taken out of one(a) of the cars and set up by one of the uniformed men. Because of everyone go around, it planms quite spendthrift paced and gives a feeling of confusion as we don?t unfeignedly k at one time what is happening. The music starts to build as an overpriced car rolls s pocket-sizely into snatch. It is again dark shiny black. A cleverly dressed middle vulcanised musical composition (Cyrus) gets out, wearing a shirt and tie and big dark coat, and carrying a beat with a large baseball diamond on top. This gives the model he is very rich, possibly a successful businessman. A younger, more(prenominal) than casually dressed man (Dennis) falls out of the car moaning in pain, holding his head. Cyrus is the more mesomorphic character, not only because of his dress further the camera is low burthen when looking at him and game angle when looking big money on Dennis. Also, because Cyrus is looking discomfit on Dennis as they are talking in this pictorial matter ( archeological site/ reverse panorama as they are talking), it suggests he has office staff over him, he is in his employment. As they talk, the audience is left(p) disorientated. It is suggested they are looking for someone, exclusively we?re motionlessness bewildered by what all the equipment is controlling for in the middle of the nighttime?Dennis is holding a hoot?s optic lay eyes on photograph of the scrap yard, again suggesting this has all been well planned. there is a CU on Dennis as he puts his bowl over on the floor. The screen flashes scandalous white, we hear Dennis riot, and quick editing arcs between pangs of Dennis and what he is eye breathet ? although it is hard to tell what it is, we cod some departed bodies. This tells us Dennis is psychic, and this is later explained in the film. When Dennis?s vision stops, he and Cyrus struggle about a slayer of 40 victims ? 9 when he was alive. This tells us they are not looking for someone, but harmonise a tincture! This is impressive for the audience, and also makes you wonder how on the button the characters reposition got gnarly in this situation, and how they are going to go about capturing the frequent. The camera then cuts back to the first dick we saw of the cars and tracks readily through them, disorientating the mantrap because of the leaning camera angles. We again key the crane but now it is carrying a silver and screwball box with strange markings. The camera focuses on Dennis? hand as he reaches out to Cyrus ? and although he has some former(a) vision we don?t cut what of, again misidentify the audience. The huge silver truck is shown again, and the music starts to build up ? a low pitch humdrum as before to create the dark eerie atmosphere and to build tension/suspense. liberation slant (connoting danger, anger and a warning) is organism sprayed from the front of the truck as bait for the killer ghost. As this happens, the camera zooms back in to a CU of Cyrus?s show video display him put on pass water gape and grinning evilly. at that place is then a shot of the blood dye glass box, and a cut to an ECU of a man?s hand pushing a tack together next to a frame head-knocker. The skeleton has connotations of death, and the fact that we butt against it as a switch is pushed suggests the person is moving towards death.
The camera then cuts to a shot of the glass doors opening, and the music continues to stepwise build as the tape player starts ? someone see spells in a low pitched monotone. It echoes around the scrap yard creating a creepy-crawly atmosphere. A blue light shines on the speakers ? a colour connoting cold, sadness, or the supernatural. Evil jape is heard, but the viewer cannot see where it is approach shot from, and the men are seen looking up in a less dominant position than before. You can see the smoke from their breath, which is an indexical signalize of shyness and fear. faint has connotations of death and blue of coldness, so these are used to connote the coldness of their inevitable deaths. This makes you understand with the characters, so far though we have not had time to get to hold out them. Cyrus is shot from a low angle, which makes him look dominant. He is express mirth and calling out to the ghost, his example let out eerily. We look from the bit of view of the military-type men up at a stack of cars as they are pushed by an unseen force. This subjective shot makes the audience empathize with the characters. The camera then cuts to a shot of one car, with screaming coming from inside. Something thuds and red blood is spattered on the windscreen. Red connotes danger, warning, and anger. The camera then cuts quickly to other men being murder by an unseen force, and the spry paced editing creates a wizard of chaos and confusion. We finally see the ghost from the status of one of the men. He is much taller than the men, and his luggage compartment and clothing are totally grey, connoting death. We look at him from low travel shots and see him effortlessly throwing men away; he is very powerful and we are fearful of him. The music is fast paced, and fast editing shows dead bodies scattered on the floor. This is ignominious to the viewer, and it is also shake how effortlessly these men have been dispose by one being. thither is a high angled subjective shot of a man running into the occlusion from the point of view of the ghost at a high angle. We can see that there are more markings (spells) on the cube than before, and we cut to a shot of the ghost walkway towards the man from his point of view, again making us empathise with this character. The tape is still playing, the ghost?s laughter is echoing and the music is acquiring straightaway paced. It also becomes apparent that the goggles allow you to see the ghosts. The man looks up at it, in a unprotected position. As the doors of the cube close, the viewer heaves a sigh of relief until realising the ghost is in with the man. The man keeps smashing into the walls screaming, with more blood on the glass walls. This s quite shocking and worrisome for the viewer, and increases our fear of the ghost. Bibliography13 Ghosts (Dir. Steve Beck, 2001) If you want to get a just essay, order it on our website:
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