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Terrifying ghost stories told by famous people

Yet another standardization device like the serial house, it is also about to turn into an instrument of distortion and fundamental ambivalence. And this final shot reminds the spectator that a good deal of the story is mainly structured around the trite intrusion of spirits through the TV screen. Surrounded by the scared scientists and their monitoring equipment, she starts shouting exuberantly. This initial spectatorial intrusion foreshadows the monstrous one to come as some alien element rising from the inside starts wreaking havoc in a formerly orderly private space. In other terms, the body is relatively safe because the house is either forever abandoned or utterly destroyed. At the beginning of the s, the setting is no longer the East but the West Coast. The play on light and darkness and the dancing shadows of leaves on the facade already signal the potential eruption of some alien dimension. She already seems to be poised on the edge of doom and irretrievably attracted to The Other Side , which actually became the subtitle of Poltergeist II Brian Gibson, They constantly live and interact with others, filling in the surrounding space and screen. It becomes a second facade about to let through some uncontrollable forces. At first, all the characters Carla talks to about her monstrous attacks question the validity of her story as in the slightly low-angle, chiaroscuro shot of her son Billy staring open-mouthed at her. Making a breach in the appalling normality of suburbia is what the directors seem to be primarily interested in. Hence the difficult, if not impossible, compatibility between the various horrific storylines.

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Description: At this stage in the filmic narrative, this in-between space figures more a point of expression than a fully-constituted point of view. Turning into an abnormal stage , it lets forces from beyond filter through the crack the child created between two parallel universes with their own laws of physics. The dream-like quality of photography, with its volutes of steam and white smoke and fuzzy images retranscribed on the monitor, already provides a fascinating reformatting of conventional representations of the occult. Then they were smashed down over her face. The high-angle distance shots of the entire city nestling in the California foothills are replaced with closer shots of the streets, neighbourhood, and people, until the camera can eventually focus on the members of the Freeling family at home. Such an equation between the two loci is consistently sustained throughout the film as Carla is shown being assaulted even outside the house , as if her body itself had become a haunted space, a locus horribilis , as well as a mere helpless receptacle. This syntactic expectation , set up by a semantic signal , is matched by a parallel tendency to expect specific syntactic signals to lead to predetermined semantic fields [ The real Carla Moran is today living in Texas with her children. In this respect, even though a direct descendant of a more conventional haunted house film genre, the s family horror imposes a reversal of viewpoints. But much like the house inhabitants, as he steps in, the spectator still retains some ambivalent position in between the public and the private spheres.
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