H.C. Analysing a sequence from 'Poltergeist' (Hooper, 1982)

Genre:

• Poltergeist (Hooper, 1982) is a supernatural horror film. It conforms to the audiences expectations of a supernatural horror, as it is suspenseful. From the point where the clown disappears, the audience is left waiting in confusion to see when and where it will re-appear. The film's title is also used to convey the supernatural element of this production, as 'Poltergeist' is the technical name for a ghost. 

Form and style/ Film language used in opening:

• Hooper has created a suspenseful passage, in parallel with the conventions of supernatural horror. A series of film techniques are exploited to give this sequence a sense of foreboding.
• Key aspects of mise - en - scene are considered to help create tension. Firstly, the audience is positioned with the little boy in shot, as we follow him in his bed. Character blocking is then used, placing the boy and the clown face to face, so that the boy is head on with his fears. This draws the audience in, as we can relate to fear.
• Another convention of mise en scene considered to develop a sense of foreboding is lighting. The boy has light exposed on his face, which makes us recognise him, where as the clown is kept in the shadows with only partial lighting showing some of its features. This alienates the audience, conforming to the conventions of supernatural horror, as we are exposed to the unknown.
• The boy's actions also develop tension in the sequence. He attempts to cover the clown by throwing a jacket over the clown. This adds to the sense of foreboding as it reveals the child's fear and vulnerability. 
• Camera and editing are used together to construct meaning in this sequence. As the boy gets in his bed and notices the clown, we cut from shots between him an the clown, establishing the two characters involved.
• The sequence then continues with the lighting establishing the boy as the protagonist and the clown as the antagonist, as previously mentioned. Throughout the sequence, the camera is positioned so that the boy is given prevalence. This develops the sense of foreboding for numerous reasons. As the boy lies down, we follow him. This allows Hooper to advance the scene. When the boy sits back up the clown has disappeared. This is chilling, as it makes the audience aware that something out of the ordinary is taking place here, elevating the suspense in the sequence. As the boy checks around his bed for the clown, the camera follows him thanks to the cuts selected and filming techniques where the camera is lowered and raised. These promote the focus to be on the boy's action, allowing for the clown to sneak up, out of shot, and creating a jump.

Narrative and ideological discourse:

• The narrative is constructed around the boy. The audience identifies with him as he is given prevalence in the shot. Because of this we connect with his emotions and his reactions. The use of a young boy in the sequence faced with an antagonist, presents a theme of vulnerability in isolation. 
• Throughout the sequence, the exposition of the young boy and his fearful behaviour towards the antagnoist construct dominant ideologies about this character. Because he is just a child, the stereotype presented is that he is defenseless and weak. Furthermore, the clown antagonist is given hegemonic status over the young boy as it shows now emotion and is completely sterile, in contrast with the boy who clearly displays fear.

Media audiences:

• The target audience for this film would most likely be the core audience of horror films, which range from 15 to 29 year old males. However it could also be aimed at parents, as it contacts with their worst fears, the loss of a child. The preferred reading for this text would most likely be that it is impossible to protect children from hidden dangers in life. This is why it is so effective at scaring people, as it plays with concepts of the unknown.