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| The expert blocking of this shot constructs a diametric opposition between life and death, and positions the audience in a confusing mode of address where Claire's actions do not seem entirely appropriate... |
- This sequence utilises a range of paradigmatic features appropriate to the horror genre. The CU shot of Claires' face as she stares in confusion at the MES if the strange shape behind the refrigerator functions as a proairetic code, anchoring the audience to expect a sudden, violent jump scare. However, our expectations are subverted, as the terrifying Zombie turns out to be Camille. Her costume codes are conventional, with her checky flannel shirt and hoodie being stereotypical of representations of teenage girls.
- This scene constructs a complex mode of address which combines two genres simultaneously. Claire is clearly stuck in a horror film. The non-diegetic soundtrack is eerie and conventional of the horror genre, and the gloomy, low key lighting constructs a sense of anxiety and dread. However, Camille’s performance and gesture codes are typical of a teenage drama text. The lexis of her monologue is defensive, and she is clearly scared that her mum will get mad at her.
- This division is emphasised through the masterful blocking that sees Claire on the left of the screen, barely lit up in low key lighting, and Camille standing at the breakfast, keenly lit in a single high key light. This constructs a complex set of significations for the audience/ Firstly, Camille’s importance is made apparent for the audience through this choice. Camille has come home, and come back from the dead, lending the light a heavenly signification. This conflicts heavily with the mundanity of the situation. Camille is making a sandwich
- The MES of the house is very stereotypically and performatively middle class which constructs a variety of messages about the characters, and forms a binary opposition with Julie’s modest flat.
- The conversation is constructed through the conventional technique of cross cutting. However, cutting from Claire to Camille, standing on opposite sides of the characters demonstrates a binary opposition that has formed between them. Camille is dead and Claire is alive. Claire is middle aged and Camille is a teenager. One has been through grief, the other is a naive teenager. These binary oppositions emphasise the shocking nature of this scene and construct an exciting and confrontational mode of address. However, when presented with these hermeneutic codes, the audience is merely a voyeur with no hope of understanding. In fact, the audience may negotiate a reading where they are annoyed and frustrated by the constant mysterious hermeneutic codes.
- The soundtrack emphasises the genre, and also forms a binary opposition the the slice of life narrative, where Claire brings Camille a towel. This use of contrapuntal soundtrack positions the audience in a confusing and bewildering mode of address.
- Claire descending the stairs is constructed through a highly suggestive use of montage. After the initial match on action of Claire hearing Camille returning, we follow Claire with the use of a tracking shot, which positions the audience with her. A medium CU of Claire’s face demonstrates her surprise, which is anchored through the use of creepy music and the gesture code of her stopping still. Furthermore the low key lighting emphasises to the audience the paradigmatic features of the horror genre. This entire sequence, when coupled with the shot/reverse shot of Claire and the ‘thing’ behind the fridge constructs a proairetic expectation that Claire is about to die violently. However, this clear intertextuality is not realised, and the show ends up subverting typical generic conventions. Camille does not kill Claire, but instantly starts yapping about an excuse for why she is so late. While both characters are diegetically situated in the same narrative, both characters interpretation of what is going on is completely different
- The blocking of the long shot in this sequence constructs many binary oppositions. The MES of the pillar dividing the two characters constructs a binary opposition between horror and drama, the mother and daughter and life and death.
- Camille is lit in stark high key lighting, while Claire is lit in gloomy, low key lighting. Subverting audience expectations, it situates the audience to understand that Claire is in the dark and confused, while Camille is living an otherwise normal life. This complex set of signs and codes will doubtless confuse the target audience.
- There is a cliche and convention of creepy children in horror films. The twins in The Shining, Anabelle, Damien in The Omen.
- Camille is a stereotypical teenage girl. Her plaid shirt, hoodie and slightly rude delivery are all stereotypical and all subvert the conventions of the scary child in horror film
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| Camille's blaise and even rude reaction to coming back to life is also initially confusing to the target audience. We later learn that she has no recollection of her death or the four years that she has missed out on |