‘Panic 2’ | Media, violence and metalanguage in the service of Ghostface – Designer Women



The resounding success of the first film made Scream a sophisticated franchise, with the second chapter being the most complex of them all, in my opinion, both aesthetically and exquisitely in its dramatic requirements. After the events of Woodsboro, the survivors are transferred to the university room. This is where the new assassins begin to attack, motivated by a massive horror arc that is only properly completed in the third film. Sidney, Dewey, Gale and Randy, echoes of the previous storyline, embark on a split journey of developing their personal and psychological spheres as characters, portrayed by Kevin Williamson’s excellent script and orchestrated by Adequate Horror, directed by knowledgeable Wes Craven. Here, through a very in-depth analysis, we will analyze some scenes from the film with the aim of providing a revisionist overview of Ghostface’s legacy. The direction of the photography, dialogues, visual metaphors, contextual elements and other characteristics typical of critical analysis allow you, dear reader, a journey into the demanding universe of Panico 2.

Here we are?

The opening characters, played by Omar Epps and Jada Pinkett Smith, line up in a movie theater and chat while they wait to watch Facada, a film adaptation of Gale Weathers’ book, a text that recounts the events of the previous film. While she is interested in the film with Sandra Bullock, which is shown in the cinema opposite, her boyfriend confirms her desire to enjoy the murder. In the brilliant dialogues, the female figure reveals her displeasure with the presence of the Afro-American character in horror films and thus reinforces the self-critical and parodic tone of Scream 2, a story that also pays homage to the classic psycho. and his shower scene, which is presented in the film in the film, in a very iconic passage.

In the cinema, the characters are decimated with something that is already known in the opening of a slasher film: the staging of a murder, the trigger for everything that happens later in the film. the history. By murdering the character in a very spectacular way, Wes Craven raises questions about violence, audience appreciation and the relationship of the content that the media reveals on a daily basis with the audience itself. On a stage in the showroom, Ghostface fulfills its criminal role, leaving us in front of Scream 2, one of the great aesthetic and dramatic moments of the franchise.

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The last girl played by Neve Campbell is stronger than before. In this scene, she realizes the inevitability of her situation after the film is released and wakes up to the phone ringing. It’s a prank on someone who pretends to be Ghostface. Below, Kevin Williamson, the production’s scriptwriter, has a little cameo as a reporter on a TV show interviewing Cotton Weary, the most evolved character in the franchise at the time.

In the search for Randy, Sidney Prescott must come across a legion of journalists concerned about his testimony of the deaths presented in the actual opening of Scream 2 that are directly related to his recent past. In class, film students discuss the sequels: Did the sequels destroy the horror? Here is the motto of the reflections. Beyond the genre, the debate focuses on sociological issues, aesthetic analysis and thus sheds light on how the metalanguage finds its best moment in the franchise. It’s a very referential discussion because when we talk about parts 2, 3 and 4 of certain films they are questioning Scream 2 itself, a sequence that also manages to be better than its predecessor.

Gale Weathers, played by Courteney Cox, returns even sour in the film, focusing on the success of his book Material on the Woodsboro Murders in the previous context. Redhead and with a chromatically tighter suit than his 1996 collection, the character acts tougher and although he eventually became an ally of Sydney, he still behaves uncompromisingly as an ethical person. She also uses a situation below to address the subject of the fake encounter between Sidney and Cotton, namely the offended prisoner and the girl who lost her mother to cold killer confused because she took her mother’s lover to prison and taken away . Note the first picture: the villain, one of the assassins, constantly crosses the camera’s field of view, orchestrated by a cameraman who knows how to make the most of the depth.

David Arquette’s character Dewey meets with Gale again after the media incident involving Sidney and Cotton. He looks at her, criticizes, and the others argue, but there is something in the atmosphere of the conversation that makes one believe in a reconciliation, something that will actually happen, and the two fight towards the end. , less favorable to Dewey, seriously injured again. Below, Sidney speaks to the Brotherhood Girls in one of the film’s many passages in Steadicam, a feature that allows the camera to flow in a more refined way, adding more organism and aesthetic enhancement to the use of the sequence.

The use of steadicam opens the scene of the murder of the character Sarah Michelle Gellar, an actress who played a brief role in the development of the plot. She watches Nosferatu, one of the greatest horror classics, on TV, while Ghostface builds the connections that culminate in her death. The entire passage refers to the first clash between Sidney and Ghostface in the first half of Scream. The suspicion of the “monster” behind the door, the stairs, the battle and finally the death of the character. Here we get another clue from the movie about the number of murderers. Are two? Only one? To find out, all you have to do is observe that while one is terrorizing the girl at roll call, the other is already ready to attack in the house that Wes Craven’s production team rented for. the passage, a huge space adapted to the depth of field and ideal for the hysteria between the victim and his torturer.

All suspects here wear blue. Sidney’s boyfriend, her colleague Mickey, one of the girls in the fraternity, alongside other characters walking across the square. This is the moment before Sidney and Ghostface first contact each other in Scream 2, a movie whose script was leaked at the time and had to change its ending. When he answers a call to the party scene that has been emptied by people who moved to the previous crime scene, Sidney realizes that the killer is getting closer and closer. Below, the film’s cameraman invests a lot of depth of field in order to create several narrative possibilities without having to overlap in the development of the story.

Gale and her journalistic flair: Here she shows the police officer charged with the investigation the relationship between the names of the victims and important characters from the previous film. Those behind the murders are aware of the killing plan that is to reach Sydney. Notice again that the villain is following the reporter and Dewey in a tense dialogue.

One of the essential elements of the Panic franchise: metalanguage. Here we have commented on the film within the film in a certain passage before the second phase of the narrative is presented, the theater in which Sidney rehearses a play about Kassandra, an important figure in Greek mythology. The film begins and ends in a circle with a scene. It’s Wes Craven’s reference to tragic classics, dramatic content that helps us better understand the fate of Neve Campbell’s feminine finale. For the director, “horror” has been with us since the dawn of civilizations, which is why the theater was an important part of the conception of the story in Scream 2.

Wes Craven once said he saw a film by Italian Fellini and saw the use of cellophane as a stage element in a theater setting. It was a matter of time for him to use what he saw as an aesthetically interesting resource. The material is used in the essay where Sidney tries to focus but ends up having visions on Ghostface and losing all of her focus given the tragic state of affairs that revolve around her daily life on Scream 2. Paranoia over uncertainties about who’s next finds a good time in the later scene, with Dewey and Gale, surrounded by people on the phone, possible suspects. At this point, Ghostface makes contact and anyone can be the killer. Here, too, the depth of field helps to justify paranoia.

Sound design and soundtrack are important elements in any film. It wouldn’t be any different in the Scream franchise. Here Gale Weathers finds herself in a sound department of the film school. There the Airtight Studios won’t let anyone hear their screams of terror while Ghostface chases them. In addition, Dewey is attacked in the following scene and we are not sure of his survival. She becomes even more desperate. Marco Beltrami’s percussive texture then fulfills the role of conveying desperation to the viewer, as seen in the character demonstration from the other side of a noise-dampening film. It’s an interesting use of the tonal possibilities of a movie. These are passages that also flirt with the sound of the knife. Physically it’s impossible, of course, but in the aesthetic dynamics of a fictional product, it works very well to increase the feeling of fear and danger.

In one of Scream 2’s best moments, Sidney and her best friend, played by Elise Neal, try to survive the onslaught of Ghostface after an accident kills the last girl’s security guards. Sidney’s strengths contrast with her friend’s frightened look as they both try to escape the killer. At some point, when Sidney almost tears off the mask and reveals the identity of the antagonist, she hits the steering wheel of the car and honks the horn. Note that the sound design increases the feeling of fear and tension. The sound of the horn is that of a truck paired with a simple Chevrolet that reinforces the atmosphere of terror that the passage filmed in a parking lot offers, which is full of close-ups to capture the tension between the characters and a dangerous situation.

In the end, the antagonists are revealed. The scene in the theater was previously supposed to take place in one of the Brotherhood’s backyards, with characters hanging from trees, etc. The ending turned out to be much more exciting and complex than the theater. The murderers, Mickey’s mother and Billy Loomis, lay out their motives in the composition of his psychopathic behavior, one of which is motivated by revenge and the other is supposedly influenced by the media and cinema. In the confrontation between Sidney and her ex-mother-in-law, things with references to the anger of nature take on a broad dimension when the young girl decides to use certain elements of the scenography of her play to fight them. vengeful mother, a topic that has been present in the Slasher since Friday – Mass 13. Interestingly, there are no scenes with the two characters in the same room throughout the film.

Ready for the next adventure with the Scream franchise? Let’s understand the third chapter of the Ghostface saga better in the next text, okay?

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