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The Sixth Sense Suspense Analysis

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The Sixth Sense Suspense Analysis
How was suspense created in three scenes in The Sixth Sense

In M. Night Shyamalan's 1999 critically adored thriller/ drama 'The Sixth Sense' there are many scenes where we can see that suspense and tension and been built up through; mise-en-scene, camera angles, editing and sound. I will be looking at three main scenes within the scene and discuss as well as evaluate how these elements are used to create and build tensions as well as the affects that this has on the audience and why these affects are wanted.

In the opening scene of The Sixth Sense we can see that the use of facial expressions and body language change throughout this scene; the closeness of the couple and the happy facial expressions we see early in the scene contrast to the body language we
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The body language also shows that the characters are very venerable. The constant change of facials expressions shows that audience that in that situation the characters do not know how to feel; this then portrays them as weak as it means that they can not take power and control the situation that they are in; This then foreshadows that something will later happen to the couple as stereotypically weak characters are more likely to be hurt by an antagonist creating fear and suspense for the audience. The usage of props within the scene creates suspense for the audience as we can see a fast escalation in the usage of broken objects to weapons, the suspense starts to build up when a camera shot in used to show the phone line broken and glass shattered from the window; this is when suspense is created as the audience as see that someone has either tried to harm the couple or has broken into their house without them being aware of it or even hearing it, this is then fearful and confusing as the audience wonders if the couple is so unaware of their surrounding that they did not hear nor notice the breaking of the glass. With the usage of the wine bottle and wine glass as a prop that is seen at the

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