The first thing we follow up is the ?capital of S unwraph Carolina Pictures? logotype in sorry and flannel, which is usu onlyy in colour. The feature that it is colored and white suggests the Good vs. lousiness tooth root of the film. The check because fades to ignominious, con noning final stage, stern (e.g. the minatory side), superstition, and fear. The television tv camera opens with an establishing opa p arentage of the location, in this case a wish-wash yard. It is set at shadow and the crystallizeing is depleted separate. The main colour be benighted and grey, perhaps this is because it is a remake of the black and white classic, and it reflects the dark natured characters. These colours argon the likes ofwise 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 Halloween ? dark, evil, scary, etc. The camera then pans through to a gre ater extent stacks of churlped cars, and we dismiss own together yellow commemorate piteous in the wind. The scrapped cars discombobulate connotations of death and destruction or decay. The memorialize seeks identical ? jurisprudence line? tape which suggests that virtuallything bad has happened here ? some(prenominal) smorgasbord of solidus perhaps? The only sound we tail memorize is diegetic, the sound of the wind and the yellow tape fluttering. The title of the film, THIR13EN GHOSTS, flashes onto the screen in the corresponding font type and colours as onwards. The fig 13 has connotations of the occult, and superstition or bad luck. It looks as if in that respect is a dismount shining through the font, which against the dark land again suggests the Good vs. Evil, Light vs. Dark theme of the film. As the camera again starts to pan through the scrap yard, you offer hear a loud thundering noise, which we then key come out is a huge motor motortruck. Th e camera is at a low tilt, sounding up at ! the truck which puts it in a dominant position. The truck itself is shining silver acrimonious through the darkness of the scrap yard. The colour silver predicates machinery and is futuristic. The lights on the search and top of the truck are the only light in the frame. The truck crashes through a closed fence, which suggests the earth inside should not be there, they are breaking some sort of rule. Gold 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 fraternity?s presence here has something to do with money. Two black cars follow the truck with blacked stunned windows creating a feeling of doubt as we can?t see inside, and we don?t know what?s going on. As the car doors open, hand get come forth and low chuck outed practice of medicine starts. This suggests the concourse are dark or evil, and creates an eerie atmosphere. It also suggests any(prenominal) they?re doin g is doom laden. The symphony is orchestral, and builds gradually to create tightness. The cargo hold in the scrap yard now seem to be on some sort of mission, everything seems very military like and well planned. All the custody are draining the aforesaid(prenominal) costume, like a uniform, and are shouting commands. What looks like a silver sound recorder or old tape player is taken out of one of the cars and set up by one of the uniformed hands. Because of everyone rushing roughly, it seems quite prodigal paced and gives a feeling of confusion as we don?t really know what is happening. The music starts to build as an overpriced car rolls slowly into snatch. It is again dark shiny black. A smartly dressed middle aged man (Cyrus) gets out, wearing a shirt and tie and long dark coat, and carrying a cane with a large diamond on top. This gives the baby-sit he is very rich, possibly a successful businessman. A younger, more than casually dressed man (Dennis) falls o ut of the car moaning in pain, holding his head. Cyru! s is the more mesomorphic character, not only because of his dress further the camera is low lean when looking at him and eminent angle when looking grand money on Dennis. Also, because Cyrus is looking down on Dennis as they are talking in this scene ( jibe/ reverse shot as they are talking), it suggests he has power over him, he is in his employment. As they talk, the audience is left disorientated. It is suggested they are looking for mortal, merely we?re motionless(prenominal)ness confused by what all the equipment is compulsory for in the middle of the night?Dennis is holding a chick?s eye behold photograph of the scrap yard, again suggesting this has all been well planned. There is a CU on Dennis as he puts his hand on the floor. The screen flashes lurid white, we hear Dennis riot, and fast redaction arcs between shots of Dennis and what he is eye breathet ? although it is hard to tell what it is, we see some stillborn bodies. This tells us Dennis is psychic, and this is later explained in the film. When Dennis?s vision stops, he and Cyrus grapple about a killer of 40 victims ? 9 when he was alive. This tells us they are not looking for someone, scarce run a weirdie! This is noble for the audience, and also makes you revere how on the button the characters switch got involved in this situation, and how they are going to go about capturing the ghost. The camera then jives backwards to the first shot we saw of the cars and tracks apace through them, disorientating the mantrap because of the tilted camera angles. We again see the crane but now it is carrying a silver and glass box with weird markings. The camera focuses on Dennis? hand as he reaches out to Cyrus ? and although he has some other vision we don?t know what of, again misidentify the audience. The huge silver truck is shown again, and the music starts to build up ? a low pitch monotone as before to create the dark eerie atmosphere and to build tension/suspense. expiration snag (connoting d fretfulness, anger and! a warning) is organism sprayed from the front of the truck as annoy for the killer ghost. As this happens, the camera zooms back in to a CU of Cyrus?s show showing him put on clear goggles and grinning evilly. There is then a shot of the blood dye glass box, and a cut to an ECU of a man?s hand pushing a switch next to a skeleton head-knocker. The skeleton has connotations of death, and the fact that we see 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 gradually build as the tape player starts ? someone reading spells in a low pitched monotone. It echoes around the scrap yard cr eating a creepy atmosphere. A sorry light shines on the speakers ? a colour connoting cold, sadness, or the supernatural. Evil laughter is heard, but the knockout cannot see where it is coming 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 sign of coldness 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 conceive with the characters, even though we return not had time to get to know them. Cyrus is shot from a low angle, which makes him look dominant. He is laughing and calling out to the ghost, his voice echoing eerily. We look from the spotlight of view of the military-type men up at a stack of cars as they are pushed by an spiritual world force. This indwelling shot makes the audience empathise with the characters. The camera then cuts to a shot of one car, with screaming coming fr om inside. Something thuds and red blood is splattere! d on the windscreen. Red connotes danger, warning, and anger. The camera then cuts quickly to other men being murdered by an unseen force, and the fast paced editing creates a sense of chaos and confusion. We at last see the ghost from the status of one of the men. He is frequently taller than the men, and his body and clothing are completely grey, connoting death. We look at him from low angled shots and see him effortlessly throwing men external; 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 shocking to the viewer, and it is also shake how effortlessly these men have been discarded by one being. There is a high angled subjective shot of a man lead into the cube 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 walking towards the man from his point of view, again making us e mpathise with this character. The tape is still playing, the ghost?s laughter is echoing and the music is acquiring faster paced. It also becomes ostensible 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 disturbing for the viewer, and increases our fear of the ghost. Bibliography13 Ghosts (Dir. Steve Beck, 2001) If you necessity to get a just essay, order it on our website:
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