Examine the way that the two scenes from the Sixth Sense are presented in order to maintain the audience's belief that Dr Crowe is still alive

No closure on his fathers murder, and the thought that his uncle married his mother sickens him, events too close. He started to see the ghost when he thought of it because of his lack of closure. (Quote of the funeral food being used for the wedding)

Based on the French novel D’Entre les Morts by Pierre Boileau and Thomas Narcejac, Vertigo is arguably one of Alfred Hitchcock’s masterpieces and the “strangest, yet most hauntingly beautiful film he had ever made” (Adair, 2002). At the time, its far-fetched plot drew a mixed response from critics – Time magazine called the movie a “Hitchcock and bull story” – but today most agree that it is one of the director’s most deeply felt pictures. Vertigo very easily categorized into a specific genre – Thriller, a genre of movies that, in many ways, Hitchcock played a major role in defining. Thrillers are

Stanley Kubrick’s 2001: A Space Odyssey and Alfred Hitchcock’s Psycho share a variety of suspense-building cinematic techniques. These directors, both of whom are highly aware of the audience experience, pay close attention to sound, pacing, point of view, and transitions in order to convey a thrilling sense of uncertainty. Additionally, the suspense created in both films can be described using categories of suspense discussed in class, as well as those laid out by Susan Smith in Hitchcock: Suspense, Humour, and Tone. While Kubrick’s suspenseful techniques in 2001 can be categorized as more contemplative and atmospheric than those characteristic of Hitchcock, both understand the importance of exercising a rigorous level of control over the information revealed—or not revealed—to their audiences. Each of these two works exhibits a masterful control of suspense, but largely due to his celebrity and filmmaking reputation, Hitchcock relies more than Kubrick on these techniques. Taken as loosely representative of Kubrick and Hitchcock’s respective bodies of work, 2001 and Psycho illustrate the differing consumer, studio, and artistic expectations placed on each director—and more importantly, the opportunities and limitations that these expectations created for the two filmmakers.

The film certainly displays Shyamalan’s recurring interest in psychological expression, yet it pales in comparison to his critically acclaimed and award-winning masterpiece, “The Sixth Sense,” because it lacks a credible depiction of the human mind. The story doesn’t delve deep enough into the implications of mental illness to resonate with audience members long after the movie has ended. In truth, it seems that Shyamalan’s days of making riveting alien invasion flicks and raw, supernatural terror films are over, and his fans are forced to settle for rushed, unappealing

The Sixth Sense is a supernatural thriller that was released in 1999. The film explains the story of Cole Spear, a disturbed and quiet boy, who eventually comes to the realization that he can see and talk to dead people. Throughout the movie, there are many elements in a scene that are placed in a certain way in order to convey a deeper meaning and gather a better understanding of this film. The mise-en-scene of this movie creates a mood and presence that can be seen through the different settings, camera shots, props and lighting.

is one of the reason why they are sat in silence waiting for Cole. The

Cache, by Michael Haneke, is certainly a movie that is likely to leave its audience feeling unsettled. Themes of surveillance and the invasion of personal space, combined with filming techniques that consistently blur the line between reality and dream-like visual objectivity play heavily on the psyche, while the depictions of the characters’ traumatic experiences weigh on the emotions. Scenes that lull the viewer into uncomfortable passivity are abruptly interrupted by images of death, both real and symbolic, jolting moviegoers out of their collective trance and inducing a stress response that bears uncanny resemblance to the experience of awakening from a nightmare. There is no doubt that this film was intended to elicit some very specific physical and psychological reactions from its viewers, and it does so with staggering precision.

Everything is done so ingeniously, that the mesmerized reader can only sit back and watch this spectacle of gargantuan proportions unfolding right in front of his/her mind's eyes.

In the film The Sixth Sense, Dr. Malcolm Crowe is a well renowned and awarded child psychologist. After celebrating his newest award with a few drinks accompanied by his wife, they are unexpectedly greeted in their upstairs bathroom by a former patient of Dr. Crowe’s, Vincent Grey. Grey accuses Dr. Crowe of “ failing him” and then proceeds to shoot Dr. Crowe in the stomach, and then follows with another bullet to his own head. The film then proceeds with Dr. Crowe and a new patient he devotes a lot of time working with, a nine year old boy named Cole Sear.

Many complex ideas are explored in this novel. To make them more understandable to an illustration is given

The Sixth Sense is an amazing movie. It has to be one of my all time favorite movies, definitely in my top ten favorites list for sure. The film is just so unique and well thought out and has this mind twisting turn out towards the end of the movie that makes you think what you might’ve missed. I don’t think anybody would’ve guessed the outcome of the movie to end this way, it’s really one of a kind. This movie isn’t your typical ghost or horror film. There’s so much more to it and if you get the chance to watch it you should definitely do so because I guarantee you will love the movie too.

The Sixth Sense is a PG-13 horror film released on August 6, 1999 by director M. Night Shyamalan. It talks about a boy name Cole Sear (Haley Joel Osment) who is able to see and talk to people from the dead and child psychiatrist Malcolm Crowe (Bruce Willis) tries to help him. Throughout the movie there were abundance of scenes that made the movie memorable for the audience. One scene I found this intriguing was the funeral scene. There were numerous techniques that were used during the scene which ties everything for the audience to understand who the murderer was. Without analyzing the funeral scene, the audience would not have believed that Cole could speak to the dead.

Perhaps The Shining is rated one of Rolling Stone’s Top 10 Scariest Films of All Time (Greene), not because it offers a bit of a thrill, or blood and gore, but because it acknowledges the intrinsically evil nature of humankind and the human condition from which we all suffer; not only on a psychological level, but a sociological, as well. There are many motifs, metaphors, and symbolism scattered throughout The Shining, many of them great examples of styles of editing, filmmaking, and

Everyone has something that scares them, that is frightening more than blood or violence. More often than not many people are frightened by a physiological thriller rather than one which is simply all gore. Lemony Snicket’s a Series of Unfortunate Events, is exactly that, a psychological terror that is centered around a series of probable unfortunate events. Although, this movie may be lined with satirical comedy, it’s main storyline is rather gothic in nature. The gothic nature of this movie is developed by its realism in its villain, plot line, and characters.

The location of Paul Berry’s film establishes the eerie tone not just for the viewers, but also the protagonist. Paul Berry’s “The Sandman” focuses on a young boy’s fear of the dark and the night. The familiarity of the setting further intensified the uncanniness of situation for the child which is nighttime in a household where the child presumably lives. Freud describes the uncanny as being “in reality nothing new or alien, but something which is familiar and old established in the mind and which has become alienated from it only through the process of repression" (Freud 13). Being in the home is not unusual, but the boy is still anxious in the darkness. Prior to having to climb a dark and ludicrously lengthy series of staircases to bed, the boy was comfortable in the home. The home traditionally signifies security and safety,