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Fiona Summers

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About Fiona Summers

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  1. The realistic depiction of the train is immediately immersive. We hear the whistle scream, and we see the flames billowing - the scene has an initial tactility to it that is easy to connect with, a societal construct we're all accustomed to - a little hellscape in miniature. The reality of the train effects a heightening of the action, so that the arrival at the station becomes a thing of note, almost heroic. Some of the specific shots and sounds that add darker touches to this opening scene include the aforementioned flames and whistle screech, the journey through the tunnel (and accompan
  2. From the start, the viewer is being warned about the arrival of the man in black. We encounter a terrorized community, where the adults are desensitized, yet still afraid (they are made uncomfortable by the children's referential song), and where the children have easily incorporated the notion of a murderer into their play. The use of light and shadow here is mesmerizing - there seem to be too many dark corners near the children when we first see them. There is darkness cast over the staircase, and of course, the appearance of the man himself; only shadow. The shots have a strange incongruent
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