New genre

While talking with Allen about how to place a template on the Sixth Sense, we thought that moreso than anything else this was a film that forced the veiwer to go back and re-examine. Similar to films like Rear Window, The Sixth Sense is constantly making the veiwer create his or her own hypotheses about the two major events in Malcom’s life; that being his relationship with Cole and his deteriorating relationship with his wife. In Rear Window, the veiwer is also contemplating how the protagonist is going to solve the mystery and his failing realtionship simultaneously. In both films, the audience learns information mostly at the same rate as the protagonist. However, unlike Rear Window, The Sixth Sense is constantly testing one to do their own detective work beyond what is percieved as the real developing fabula. There is a fabula that lies underneath, and is only shown through careful camera techniques which challenges the audience to be visually and audibly aware. Lavik argues, ” Although the Sixth Sense contains mystery and a final solution, the film differs from traditional detective stories in one crucial sense; in the time honored Sherlock Holmes/ Hercule Poirot tradition it is commonly held that the reader or veiwer have access to the same information as the detective hero and hence, in principle, the opportunity to solve the mystery before or at the same time as him or her.” One of the only other movies that has a twist which challenges the veiwer’s understanding similar to The Sixth Sense is Fight Club. So can one begin to see the re-examining of film as a template outside of traditional ideas like the detective story or action film? I think so, and enjoy how both Fight Club and The Sixth Sense challenge the veiwer to do more than just simply understand the szyuhet and fabula. In The Sixth Sense one must understand the role of red within the fabula and compare the interactions of Bruce Willis with both Cole and his wife; how are they different? Most of this information can only be obtained when the veiwer goes back and rewatches scenes. Then, many questions that this style of film presents for the audience can be pieced together without the help of the protagonist because the protagonist only realizes his flaw or flaws at the end of the fabula.   

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