This post is graciously dedicated to John Wilson who requested it and has patiently awaited its posting! Thanks, John!
the energy crisis resulting from an embargo Arab countries launched against the US because of the US arming Israel during the Yom Kippur War that same year. Of all the things happening in the tumultuous year of 1973, how can I focus in on that?
A photograph.
Jeremiah Johnson of 1972 (Robert Redford) and 1970's A Man Called Horse with Richard Harris and even Dustin Hoffman's Little Big Man also from 1970 (demonstrating that, leading up to the 1973 "Charles Reamer experiment," there was at least a trickle of revolt against "modern life" in America and a questioning of American materialism and how it was effecting us; these are only a few of the films, and I won't profess being an expert on them, just that, at the initial date mentioned by the film, there were movies being made highlighting the same type of concerns The Apparition appears to be making).
Just as they are trying to get the house "cleaned" of the "ghost," a ghost--looking an awful lot like Kelly herself--appears in the glass reflection of the "washing machine" (symbolic of the electrical devices being used to "wash the house" so to speak) and the eerie, distorted reflection we see of the "ghost" is actually a reflection of how Kelly is haunting the house herself, hence, the reason why she nails up the door only to find herself locked inside with herself in her most undesirable, unclean form (which is what all the best horror films do, they show the main characters in their everyday life and then, when they see the "monster," it's actually their own self they are coming "face to face with" and what they have unknowingly become, such as with Ichabod Crane in The Legend Of Sleepy Hollow). Hence, another interpretation of the poster pictured above, with Kelly surrounded by hands grabbing onto her, is the "reality" of all the things she is "holding onto" in life that are holding her prisoner.
I pointed out that camping is important in the film, first being mentioned in the Costco where Ben and Kelly go shopping, again when they move out onto the back patio and at the very end when Kelly, in some altered state of reality (?) wanders absently through Costco and into a tent, etc.
In this "sheet mummy" clip, it appears The Apparition attacks the very act of sleeping in a bed--instead of a tent or on the ground, which we shall see in House At the End of the Street--and that act erases or suffocates her identity by "whiting it out" with the sheets, which is an interesting way of putting it. The film mysteriously ends with Kelly walking into the Costco where they were shopping earlier in the fillm and getting into a tent, zipping it up, and the mysterious hands coming to slowly grip her and cover her mouth when the film ends and the credits begin,... so, Kelly has to die because she refuses to believe that she can live life wtihout foreign oil and live without modern contraptions. Why bother watching a film such as this? It articulates the arguments surfacing in the current culture wars, and the more we know about what each side is saying, the better we know what we ourselves think and we can articulate our own arguments.
Eat Your Art Out,
The Fine Art Diner
P.S.--This is being posted much later, but I think the seance at the beginning, to contact Charles Reamer, is really trying to contact the American engineer "spirit" in this country, that same spirit of Thomas Edison, and those--according to the film--participating in the seance would be people like myself who believe in this great country and the great people in this country, "summoning" the American greats of our history to our modern time as inspritation, but--according to the film--we are getting "sucked in" (the girls disappearing in the walls) to their "lies" of greatness (again, according to the film) and the film wants to show how us looking at the past is keeping us from living with green energy in the future,... according to the film...
"Entities manifest themselves through energy," Patrick (Tom Felton) explains in Todd Lincoln's supernatural thriller The Apparition and herein lies the heart of the problem the film sets out to tackle, the play on words of "energy," and "power," because we think we're in for a ghost story, but it's really a history lesson on where America's policy on foreign oil and our dependency on the power grid has gotten us. The two keys to understanding the film is that the first "experiment" takes place in 1973, and the second key is a photograph during the credits (there are always several valid ways of understanding a work of art, and this is just one of them).
the energy crisis resulting from an embargo Arab countries launched against the US because of the US arming Israel during the Yom Kippur War that same year. Of all the things happening in the tumultuous year of 1973, how can I focus in on that?
A photograph.
Jeremiah Johnson of 1972 (Robert Redford) and 1970's A Man Called Horse with Richard Harris and even Dustin Hoffman's Little Big Man also from 1970 (demonstrating that, leading up to the 1973 "Charles Reamer experiment," there was at least a trickle of revolt against "modern life" in America and a questioning of American materialism and how it was effecting us; these are only a few of the films, and I won't profess being an expert on them, just that, at the initial date mentioned by the film, there were movies being made highlighting the same type of concerns The Apparition appears to be making).
Just as they are trying to get the house "cleaned" of the "ghost," a ghost--looking an awful lot like Kelly herself--appears in the glass reflection of the "washing machine" (symbolic of the electrical devices being used to "wash the house" so to speak) and the eerie, distorted reflection we see of the "ghost" is actually a reflection of how Kelly is haunting the house herself, hence, the reason why she nails up the door only to find herself locked inside with herself in her most undesirable, unclean form (which is what all the best horror films do, they show the main characters in their everyday life and then, when they see the "monster," it's actually their own self they are coming "face to face with" and what they have unknowingly become, such as with Ichabod Crane in The Legend Of Sleepy Hollow). Hence, another interpretation of the poster pictured above, with Kelly surrounded by hands grabbing onto her, is the "reality" of all the things she is "holding onto" in life that are holding her prisoner.
The irony the film intentionally depicts is that Kelly and Ben use electrical devices to try and rid themselves of their dependency on electrical devices. |
In this "sheet mummy" clip, it appears The Apparition attacks the very act of sleeping in a bed--instead of a tent or on the ground, which we shall see in House At the End of the Street--and that act erases or suffocates her identity by "whiting it out" with the sheets, which is an interesting way of putting it. The film mysteriously ends with Kelly walking into the Costco where they were shopping earlier in the fillm and getting into a tent, zipping it up, and the mysterious hands coming to slowly grip her and cover her mouth when the film ends and the credits begin,... so, Kelly has to die because she refuses to believe that she can live life wtihout foreign oil and live without modern contraptions. Why bother watching a film such as this? It articulates the arguments surfacing in the current culture wars, and the more we know about what each side is saying, the better we know what we ourselves think and we can articulate our own arguments.
Eat Your Art Out,
The Fine Art Diner
P.S.--This is being posted much later, but I think the seance at the beginning, to contact Charles Reamer, is really trying to contact the American engineer "spirit" in this country, that same spirit of Thomas Edison, and those--according to the film--participating in the seance would be people like myself who believe in this great country and the great people in this country, "summoning" the American greats of our history to our modern time as inspritation, but--according to the film--we are getting "sucked in" (the girls disappearing in the walls) to their "lies" of greatness (again, according to the film) and the film wants to show how us looking at the past is keeping us from living with green energy in the future,... according to the film...
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