The paradoxical purpose is reflected in the film’s aesthetic design. The Exorcist is thus a work of sacred blasphemy, exposing its viewers to the foulest of images and sounds in order to guide them on a reverential journey through the dark night of the soul. Yet at the same time, the film is a religious story of good versus evil, in which Christian values are upheld and the powers of righteousness and humility are able to defeat the dark forces at work. On the one hand the film is an exemplar of horror and some might say obscenity, featuring the defiling of religious artifacts, prolonged scenes of medical tests involving needles and the drawing of blood, urination and vomiting, the humiliation and battery of clergymen, and strong obscenities spewing from the mouth of an innocent twelve-year-old girl possessed by a demon that may be the Devil himself. With the advertising slogan “almost beyond comprehension,” director William Friedkin and writer William Peter Blatty set out with the paradoxical goal of both shocking and spiritualizing viewers when crafting The Exorcist (1973).
#Subliminal messages in the exorcist free
In his free time, he enjoys reading, recreational running, and card games, and can often be found exploring museums or attending Visions and Voices events. As a Film Production student, he has been a director and production designer on several student films. Although he enjoys all kinds of movies, his research at USC has primarily been in the horror and suspense-thriller genres. During his years at USC, he was a member of the Sidney Harman Academy of Polymathic Study and an assistant “game runner” for “Reality Ends Here,” an alternate reality game hosted by the School of Cinematic Arts. Originally from Federal Way, Washington, a suburb outside of Seattle, Michael Onorati is a senior double majoring in Cinematic Arts Critical Studies, with Honors, and Film & Television Production.
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