Pulse :: Movies Entertainment Media Essays

PulsePulse is superfici totallyy many a(prenominal) movies. It is a 2001 vehicle for director Kiyoshi Kurosawa to gain international reputation. It is a young repulsive force movie. It is a ghost story. How unrivaled reads this movie determines, to a oversized extent, what one sees in it. And while this means we cannot hope to discover one already present Truth waiting for us in the ebbs and flows go by means of and sound that comprise the film, we can still interpret film and confuse contesting interpretations over the facts and implications of every frame and every sweeping plot summary. To fling one such plot synopsis now, the movie is basically close two separate groups of young Japanese men and women coming into contact, through information technology and forbidden rooms, with ghosts whose mysterious effects remove the population of the planet and drive the only survivors the film shows onto a ship headed to Latin America. One group, of whom only one survives, w orks in a babys room and happens upon the ghosts through a computer wizard friend, who immediately kills himself. The other duplicate are at the University and come upon ghosts both through computer-illiterate Kawashima and through a graduate savant who makes a miniature ensample of our world. I will consider Nol Carrolls cognitive psychological model of horror film, and then Steven Shaviros system of The Cinematic Body, offering, between the two, a path of interpretation of the film in details and broader theme. showtime I will try to imagine Pulse within the model of cognitive psychology suggested by Nol Carroll. The movie, as horror film, is a narrative of curiosity. This can take devote in a scientific model of observation, hypothesis formation, testing the hypothesis, and confrontation. However, it could potentially take place in any particular expression of curiosity (e.g. surrealist, playful, theological or paranoiac), in any (sub/counter)culture, indeed multiple c uriosities should be possible all at once. This explains Pulse a bit like the graduate student the (scary) problem is mysterious, so we (audience/some narrative force) can and will look into in order to deal with the problem, and satisfy our desire to know. The theory addresses itself to watchers of horror films, but depends on the unfolding of a narrative of discovery.At other levels than the sweeping plot of the entire film, the theory offers more insights.