The relationship between Horror movies and Christianity is overwhelmingly storied. When you are a movie fan, one realizes that movie writers and directors frequently root their storyline on religion to narrate specific structures, genres and characters arc to present an array that emanates from unique ethnicity and culture. Horror movies are among the films that heavily rely on religion as their point of emphasis. Religion and Christianity form the forefront of painting frightful representation in the horror genre. Christianity representation in horror films gives insights into religious roles in media and preserving popular culture. James Wan and Michael Chaves blend religion, society and morality in the two films Conjuring and Conjuring 2. Hence, this assignment delineates the Ways in Which the James and Michael film portrays Christianity based using qualitative and quantitative text analysis.
This assignment resorts to semiotic analysis, studying signs and related meaning to the social world and social processes. This essay will analyze religious semiotic materials in the films, including dialogue, iconography and costume settings that will be religious visualizations; specifically, these symbols will represent Christianity. Horsefield claims that language is the central aspect of communication where power wrangles take place (Horsefield 6). The second line of quantitative analysis is the film’s dialogues and on-screen text, even though the film employs a more complex ideological text and encoded hypodermic communication (Esser 1). The film writer and director exploited semiotic conventions and codes in both films to demonstrate the pro-Christianity ideology in the film.
Conjuring and Conjuring 2 extremely portrays Christianity ideology. The film directors bring religious elusion averagely every one and half minutes on set regardless of the communication criteria. James and Michael emphasize religion in both films, which tend to paint Christianity in both films through dialogue and semiotic symbols. The directors of the film oversell the Christianity theme to their viewers. They try to market the idea that the reason for restoration to attain equilibrium in society depends on religion. Additionally, the stars in the films frequently use religious icons in numerous scenes in the movie. The directors used his key actors as their mouthpiece to project the idea of Christianity while protecting the globe from malevolent forces. In many cases, Ed and Lorraine are the beacons of hope as they drive religious messages to Michael and James audience.
Additionally, James and Michael employ Horsefields language as a key aspect of communication ideology in their films. The directors use more dialogue than semiotic code in these films to negotiate with their audience since the audience would need more time decoding the message when the movie houses religious icons. Apart from religious dialogue, the movie scene presents a room with approximately thirty Crucifix mounted on the wall of a specific set which the characters use to protect themselves against evil antagonist Valek, who assumes the form of an evil nun. The semiotic presentation in the Conjuring 2 suggests the film proclaims a stronger Christianity ideology than Conjuring 1.
The producer of the movies Conjuring and Conjuring 2 uses imperative semiotic symbols in both films. The directors used repetition as the most effective use of semiotic codes in the movies. Lorraine Warren, and heroic characters in the film, always wrap a rosary around her hand. The directors use this iconic code to remind their audience and movie critics that religion is an effective conflict resolution technique. The directors employ religious icons throughout Conjuring one for protection against evils. For instance, the film scene allows Crucifix to protect and guard a room that hosts a malevolents spirit in Warrens home. The author uses a crucifix to “piss off” demonic spirits, as Warren proclaims when trying to rescue the family who was in trouble and needed help. Additionally, in Conjuring, the directors relate the enemy’s destruction with helpless defence and protecting innocent victims by using Latin Scriptures and Holy water. At the same time, in Conjuring 2, the director brings the religious lexis such as banishing the enemy to “hell” using a crucifix. The authors’ religious resolution in Conjuring and Conjuring 2 presents a similar influence on the audience watching the film with the aim of facilitating faith in Christianity.
Michael and James’ ideologies support Christianity in Conjuring and Conjuring 2 as they paint a binary opposition of ideas that depicts the opposing perception of morality (Levi-Strauss 149). The authors use Christianity as a positive force in both films. In Conjuring 1, the villain is a Witch and presenting a Witch as an evil person in the society gives the producer a pre-cultivated ideology in the community that help the movie audience see the binary aspects of the movie. Conjuring 2 employs a similar technique where the authors subvert the traditional ideology of Nuns to build an evil enemy for the hero to defeat. Also, the author subverts the holistic ideology that represents Nuns are peaceful, kind and comforting humans using costume manipulation that serves as an emblematic mockery of the Roman Catholic Church. A similar mockery is implemented in the films with a semiotic code representing three demonic knocks that the enemy used to insult the holy trinity. The film presents binary posts where the director presents the villain as a threat to family values which are embedded in Christian values and the spirit of togetherness. The director presents the family as the unit socioeconomic factor in society (Alesina and Giuliano 117). The directors’ scenes indicate a lack of semiotic codes and religious icons in numerous clips that involve families and their houses. The director’s portrait of the family indicates that families need to be more religious for their own protection from evil spirits. The author explores the unreligious family portrait through Ed’s dialogue, where he warns a family that they should consider being religious.
The director presents Lorraine and Ed as church agents and often dresses the two characters in white dress codes to symbolize hope and paints the portrait of angels. Lorraine’s all-white dress code projects her angelic portrait. Lorraine is frequently dressed in white and passes on dialogues such as “a halo will protect you” to affirm her purity and angelic representation. The angelic aspects allegorically correlate to the pro-Christianity ideologies that Michael and James were aiming to project. The directors attempt to use sacred lexis and symbols to give their audience a real-life remedy to fear and deliver more tools to conquer diversity in everyday life.
In conclusion, Conjuring and Conjuring two film undoubtedly tries to proclaim Christianity ideologies through dialogue choices and semiotic symbols. While horror film fans can argue that numerous horror film centres their theme around Christianity and religion, the film Conjuring and Conjuring 2 form the religious vehicle on their own. Both films accurately represent Christianity by presenting contradicting binary opposites that the movies consistently emphasize. The films encourage and support Christianity as a real symbol and a legitimate solution for fighting evil enemies. Therefore, the movie clearly promotes Christianity to its audience.
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