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The 1982 Movie Poltergeist Used Real Skeletons As – Tymoff

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Introduction: The 1982 Movie Poltergeist Used Real Skeletons As – Tymoff

The 1982 horror film “Poltergeist,” directed by Tobe Hooper and produced by Steven Spielberg, remains a classic in the genre. However, one of the lesser-known controversies surrounding the movie is its use of real skeletons in certain scenes. This essay explores the ethical implications of using real human remains in filmmaking, the historical context of this practice, and its impact on the legacy of “Poltergeist.”

Background of “Poltergeist”

1. Synopsis and Production

“Poltergeist” follows the story of the Freeling family, whose suburban home is haunted by malevolent spirits. Directed by Tobe Hooper and produced by Steven Spielberg, the film blends supernatural horror with family drama, creating a memorable and chilling experience for audiences.

2. Cultural Impact

Upon its release in 1982, “Poltergeist” received critical acclaim for its innovative special effects, suspenseful storytelling, and memorable performances. It became a cultural phenomenon, influencing subsequent horror films and leaving a lasting impact on popular culture.

The Controversy: Use of Real Skeletons

1. Historical Context

The use of real skeletons in filmmaking dates back to the early days of cinema, when acquiring realistic props was challenging and expensive. Skeletons sourced from medical schools and other sources were often used in horror and fantasy films to achieve authenticity.

2. Ethical Concerns

The ethical implications of using real human remains in movies raise questions about respect for the deceased and cultural sensitivity. Critics argue that such practices may exploit human remains for entertainment purposes and disregard the dignity of the deceased.

Case Study: “Poltergeist” and Real Skeletons

1. Production Details

During the filming of “Poltergeist,” several scenes required the use of skeletal props. It was reported that real human skeletons were cheaper to procure than synthetic ones at the time, leading to their inclusion in certain scenes, notably the iconic swimming pool scene.

2. Cast and Crew Reactions

Members of the cast and crew, including actress JoBeth Williams, who played Diane Freeling, expressed discomfort upon learning about the use of real skeletons during production. This revelation sparked discussions about the ethical boundaries of filmmaking practices.

Legacy and Reflection

1. Impact on Filmmaking Practices

The controversy surrounding “Poltergeist” contributed to greater scrutiny of props and special effects in filmmaking. It prompted filmmakers and industry professionals to reassess ethical standards and adopt more transparent practices regarding the use of human remains and other sensitive materials.

2. Cultural Awareness

The debate over using real skeletons in “Poltergeist” raised awareness about cultural sensitivity and respect for human remains in entertainment media. It underscored the importance of ethical considerations in representing death and the deceased on screen.

Contemporary Views and Practices

1. Industry Regulations

In response to ethical concerns, industry regulations and guidelines have been established to govern the use of props, including human remains, in filmmaking. These regulations aim to uphold ethical standards while ensuring authenticity in storytelling.

2. Evolution of Special Effects

Advancements in special effects technology have made it easier to create realistic props without resorting to using real human remains. Synthetic materials and digital effects now offer filmmakers more options for achieving visual authenticity without compromising ethical principles.

Conclusion

The use of real skeletons in the 1982 movie “Poltergeist” remains a controversial aspect of its production history. While the film’s innovative storytelling and impact on the horror genre are widely acknowledged, the ethical concerns raised by its use of human remains continue to provoke discussion and reflection within the film industry and among audiences.

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