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Open Grave Movie Analysis

Open Grave Movie Analysis

The paper represents a movie analysis. The movie which has been chosen for the research is Open Grave. The paper provides a detailed insight into the hues of meanings and concepts the authors of the movie intended to translate via the video image. Also, the research contains a detailed analysis of the zombies’ characters and their meaning. The general background of the movie is the philosophic compound of the zombies and their role. The paper states that the characters of zombies are nothing else but an allegory to the future generation. The authors of the movie – in such a way – provide the present humankind with a warning that we should stop living in this way and make attempts to save our future. The essential topics of the movie revealed are fear, humanism, guilt and desire to live. In general these topics show the psychological compound of the movie and make a viewer feel the life in a different way.

The cinema is fairly believed to be a significant part of the contemporary culture. The current situation in cinematography is that the filmstrip is replicated into millions of copies. The audience always waits in anticipation of new events, stories and characters. Cinema affects the imagination, forming the new – or even innovative – images of reality. Therefore, purpose of this paper is to reveal the main characteristics of the movie, Open Grave.

The movie in question has been shot in order to remind humanity about the disasters they may encounter in the future. The essential purpose of the movie was not to depict the appearance of monsters and zombies, but show what can be meant by those monsters and zombies. In other words, the fantastic evil creatures are namely the allegory for the possible consequences of the human activity on Earth.

Along with this, the director of the movie touches upon the problem of consciousness and self-consciousness, which are one of the most controversial topics in philosophy. Modern philosophers try to understand the nature of this phenomenon. In this regard, essential movie’s characters, the zombies, are indicative not only for movies, but for philosophy. Thus, the term of zombie can mean the connection of the humanity of the present with the humankind of the future. When watching the Open Grave movie, it is possible to come up with the conclusion that if the humankind does not stop such a way of life, they will be condemned to turn into zombies. Certainly, the movie’s authors do not presuppose the direct manifestation of zombies as they are frequently depicted in the movies. In most cases, a viewer can understand that ‘zombie’ is the allegory.

It is also important to figure out several more points. When watching the film, there is a constant feeling that the characters are not from the future. They represent an odd conglomerate of the fusion of the past, present and the future. The character of monsters and zombies which is represented in the movie contributed to different hues of the movie’s plot understanding. This understanding comes up with an idea that any society in different historical periods haunts and marginalize (and sometimes displaces and destroys) people. This is the society which excludes from its members any particular segment of the population in the chosen national origin, gender, sexual or casual basis phenomenal. This approach causes the feeling of being guilty.

The feeling of being guilty is revealed in the film from the very beginning: when the main characters appear in the hole full of dead bodies, they start blaming themselves for the things they might have done. Then they blame the only one person, who might have looked the weakest one of them. This guilt excludes or sacrifices the social order and the evidence is not needed to be presented, being both a consequence of social compromise and repression, involved in the primary idea of ​​violence and guilt of life itself. The epistemological nature of this guilt can be characterized by its universality and flexibility due to the collectivity of the constituent violence by the team of the main movie’s characters regardless of the fact that they may not recognize it. In general, the topic of guilt is very frequent in the movie: it is revealed more than several times. Such an approach is caused by the desire of the movie’s director to show that global vision on guilt and how it destroys people. Thus, culpability and uneven treatment at all members of society acts as a source of the mythological motif that supports it idling violence, demanding more and more symbolic victims.

The figures of beasts and monsters in the Open Grave movie performs a certain function. It has to perform mythopoetics mass culture function like patricide and incest in ancient Greek tragedy. This misrecognition function here erases their underlying basis of primary acts of collective violence, whose members are long dead, but the consequences of their actions are stored in the society as a semi-conscious background of collective suspicion to all foreign and incomprehensible creatures.

Thus, in the movie, Open Grave, it is possible to note the sacrificial grounds and looming behind the violent practices, which brings the mere question of the origin of the zombies. The filmmakers cleverly tied it with trioxin gas, which had been allegedly used to lead the dead people to the revival.

Generally prevailing in explaining the origin of the zombie version of the infection, the Open Grave filmmakers state that it was caused by a pandemic and they point to the victim – the carriers of the deadly virus, who have to be blamed for its propagation. But even when the problem of the origin is not affected, distorted tradition of social exclusion symptoms persist as vestiges, traces of some fundamental oblivion.

Compatible with monsters picture of the world is supported by secularized, or even religious ideology in its core, in which alone the ghostly existence, resurrection, bodily life after death, and so on are presented. Accordingly, it is with certain reservations includes general religious ideas of the sin, the guilt and the redemption. For example, if we talk about the birth of of the origin of life, the ‘fault’ can be observed, too, since it had its cause – God as the originator of the birth. Certainly, the Open Grave movie was not aimed to touch upon the religious background, however, when watching it and analyzing the main characters, it is possible to assume that the life, in which someone is guilty, automatically transfers the blame on us in the horizon and the reproduction of life in the perspective of imminent death.

Another topic the movie touches upon is the fear. The Open Grave movie’s authors state that far is caused by inadequate dramatic attitude to this bleak prospect, and you try to avoid it by making life sacred values ​​in the hope of postmortem existence. Unfortunately, this scenario is harmless mythological historically carried out in bloody wars mode and murders, and puts on the foundation, dedications, cleansing and redemptive rituals, gradually transforming into routine legal procedures.

Certainly, the monsters in the Open Grave are shown from the point of view of their inherent evolution in the film, keeping only indirect contact with their historical prototypes. Even behind them folk tradition is important only in terms of the restoration of the historical surroundings, and their specific props acts only as a distorted evidence about the killings and repression of past eras. To understand the nature of the characters in the Open Grave, we need a comparative analysis of actual political experience and the changing legal status of the carriers which monsters, though indirectly, also are

Sometimes, when watching the movie Open Grave the monsters can be somehow understood in a positive way, which demonstrate on what the norm in a particular culture is based on. There are plenty of films about vampires, zombies and queer-lesbian seeking to break the stereotype of terrifying sexuality, if it realizes itself outside the reproductive heterosexuality. The Open Grave movie is one of such movies. Incidentally, in the differentiation of the vampires during the 20th century, the national and racial basis gradually shifted to distinguish on the basis of sexual orientation.

Generally, as it is provided in the movie, a monster is a memory marker of the sick conscience, unsolved or unsolvable socio-political and psychological problems, that is the figure that allows a break, or, conversely, to block access to the level of primary anthropological experience, in which the natural and social are still indistinguishable zone. But the types and memory layers that are affected or accessed by a particular date mythological character, can be fundamentally different.

These differences can not be explained solely on the basis of the phenomenological characteristics of monsters: that they drink blood, eat flesh or brains, steal the soul. This is because they are a double problem, emphasizing the characteristic signs of victimization. Interpretation of the movie monsters as the victims or excluded for the first time allows for the differentiation of genres on the way to the level of eradication of collective neuroses and fears, the analysis that we are going to do following the example of zombie movies.

Zombies are depicted in the Open Grave movie as massive, faceless and mute, devoid of the primary signs of humanity, which made modern viewer, as a rule, not able to identify with them, empathize with them, to fight on their side, or at least not to participate in their destruction. At the same time they preserved, albeit in the form of atavism, some signs of victimization and visible humanoid, losing only the individual who possesses the same ghosts and vampires. In this regard, new monsters have lost their traditional sacrificial qualities – unlike vampires do not kill them and do not involve ritual for this, as in the case of ghosts do. Zombies can be destroyed, affecting their central nervous system or simply smashing his head – in strict accordance with current scientific knowledge about the moment of human death, namely brain death.

Recently died people are suddenly resurrected or contact zombies. They have only a short day of memory, appear suddenly, and not wander through abandoned castles for centuries, sleeping off the tombs and hiding in caves. Suddenly gone over the line of social responsibility and well-being of these creatures could yesterday be our mothers and fathers, brothers and sisters, children and grandmothers. Their bleak life does not last more than a day – in proportion to the daily frustrations citizen. Thus, the movie represents a number of social and psychological issues regarded. The authors of the movie created successfully the versatile object which is filled with the numerous allegories.

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