Ghost World Essay

Ghost World Essay-65
Although the product of a one parent house, her bumbling father is sympathetically depicted and she is conceived of as the product of an obviously financially comfortable middle class background.

Although the product of a one parent house, her bumbling father is sympathetically depicted and she is conceived of as the product of an obviously financially comfortable middle class background.

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The acidic humour ensures that there isn’t a single frame of the indulgent sentimentality one could envisage a lesser talent bringing to this project, while the sadness is sufficiently acute to prevent the satire from becoming crass or dehumanising.

This balance is established as soon as the opening credits end with a scene of such depressing absurdity that one can only empathise with Enid’s reaction of pitying, exasperated disbelief.

The look of the film is carefully controlled, with a detached, minimilistically simple camera style that frames its subjects in such a way as to emphasise flat planes of vision, as if the world were actually a two-dimensional drawing.

The rhythm of the film is also boldly stylised, the two-dimensionality of the image causing a slight awkwardness in editing and movement which creates the subliminally haunting effect of a perpetual, subtly oppressive stillness and detachment in the unusually aloof but insistently expressive environment.

The forms Enid’s rebelliousness assume are unusually free of tabloid material for a teen movie, not going beyond oddball dressing and losing jobs through exasperation with the idiocy of her employers.

Yet this comparative behavioural mildness, along with the humour, make it easy to overlook what a pessimistic film actually is.

(2001)’s freshness comes from its refusal to go any of these three ways.

What director Terry Zwigoff and writer Daniel Clowes propose instead is a radically de-romanticised ambience of world-weariness against which the usually evoked forces of hormonal excess and delinquency pale and fade impotently into a list of dull, conformist attitudes which Enid (Thora Birch), much like the film itself, rejects as empty clichés.

She is attending her school graduation ceremony, which is being addressed by a pupil recently paralysed in a car accident caused by drug abuse.

The speech she makes is an oozy, pandering exercise in political correctness in which she expresses gratitude for the insight her accident gave her into the error of her way of life.

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