Abstract
The aim of this study, which includes a written article and an audiovisual essay, is to explore a circulation of figures - the clown, the tree, and the shadows - from a Hollywood family horror film Poltergeist (1982) within cinephilic imagination. Subscribing to videographic film studies, a discipline on the border between traditional film and media theory, artistic research, and digital humanities, the study remediates and transforms the fleeting memory of these figures through the tools of experimental cinema and found footage practice. As a result, the study showcases how images from popular culture haunt our imaginative lives, and that inside every narrative film is a non-narrative experimental film struggling to get out.
This audiovisual essay is part of a collaborative project Once Upon a Screen, edited by Ariel Avissar and Evelyn Kreutzer.