3.1.14 Foreshadowing and allusion

Does Jackson use these devices in "Heavenly Creatures?"

[jp] The film is absolutely rife with foreshadowing and allusion, beginning with the whole narrative of the Prologue. Jackson uses foreshadowing, especially, as a means of building up dramatic tension to an unbearable level. It might almost be shorter to list things which aren't... Some examples are presented in this section. Since the reader must be an afficionado, some of the details of the connections are omitted or left as exercises. Contributions to this section are welcomed.

The Prologue.

[jp] See 3.1.3 for an extended listing and discussion of foreshadowing and allusion in the archival footage in the Prologue, for a more complete description of the "flight scene" and for a detailed analysis of the "ship scenes." Brief reminders of things which pop up again and again:

Archival footage: daffodils, gay and golden, Rutherford, Christchurch gardens.

Flight Scene: smashing through the wooded underbrush, screaming, legs and shoes and stockings and feet and running, mud, overcoats, "Mummy," "Help us!", spattered blood and gore.

First Ship Scene: legs and running, wooden decking, bright print summer dresses, "Mummy," streamers, an elegant woman in white, a man in an overcoat and hat, the sound of the wind.

The title sequence at school.

[jp] The title sequence is chock-a-block with foreshadowing and allusion, too. See 3.1.19 for a discussion of the music under the titles, "Just A Closer Walk With Thee," and all the references contained in this piece. Things to watch for later in the film: a six-pointed star, stockings, legs and feet, brown oxfords and sandals, school satchels, bicycles, brown gloves, "sit-tuh!" and distain of other commands.

What is the significance of Pauline's stockings?

[jp,lfr] We see Pauline hooking up her stocking to her garter belt in the opening sequence under the titles.

At the end of the film, Pauline constructs the murder weapon from one of her stockings. So, apart from telling us a lot about Pauline, and having her flash her thigh gratuitously in an allusion to the scandalous and salacious reputation of the case, this little scene is also a wonderful, almost throwaway, foreshadowing of the murder. It is just one example of an object or theme that appears in two forms in the film, first as something innocent and every-day, and second as its dark and sinister doppelganger.

Others, in no particular order:

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