Paranormal activity what kind of demon

Daniel reviews the footage but dismisses her claims. Kristi talks to her sister Katie Katie Featherston about being tormented by a demon when they were little girls. Daniel's daughter, Ali Molly Ephraim , begins investigating the mysterious occurrences and discovers that humans can make deals with demons for wealth or power by forfeiting the soul of their first-born son. She also discovers that Hunter was the first male to be born on Kristi's side since the s.

The violence quickly escalates; the family's German shepherd, Abby, becomes aware of the demon's presence and is attacked. Daniel and Ali take Abby to the veterinarian, leaving Kristi alone with Hunter. When Kristi checks on the baby, the demon assaults her and drags her down to the basement, where she stays for an hour. Finally, the basement door opens and a possessed Kristi walks out. The following day, Ali is home with Kristi, who will not get out of bed.

She finds the basement door covered in scratches and the word meus Latin for "Mine" , etched into it. Ali goes upstairs to check on Hunter and sees Kristi there, with a strange bite mark on her leg. When Ali tries to get Hunter, Kristi furiously orders her not to touch him. Now terrified, Ali begs Daniel to come home. After he arrives, she shows him the footage of Kristi's attack. He immediately calls Martine, who prepares a cross to exorcise the demon; and tells them that Kristi will have no memory of being possessed.

Since the curse can only be transferred to a blood relative, Daniel tells Ali he is going to pass the demon onto Katie, so that Kristi and Hunter will be safe. Ali begs him not to because it is unfair to Katie, but Daniel sees no other way to save his wife and son. That night, when Daniel tries to use the cross on Kristi, she attacks him, and all the house lights go out. Using the handheld camera's night vision he finds that Kristi and Hunter have disappeared. Furniture starts to topple over, and the chandeliers begin to shake.

Daniel chases Kristi into the basement, where she attacks him. After he touches her with the cross she collapses and the house shakes violently. Daniel hears demonic growls and screams and finally, the shaking stops. Daniel puts Kristi to bed and burns a photo of a young Katie the same photo Micah Sloat later finds in the attic of his and Katie's house in the first film.

Three weeks later, Katie visits and explains that strange things have started happening at her house. She then returns home to her boyfriend Micah.

On October 9, the night after Micah is killed, a possessed Katie breaks into Daniel and Kristi's home and kills Daniel by snapping his neck while he watches TV. She then kills Kristi in Hunter's room, violently hurling her at the camera, and takes the baby.

She leaves, cradling Hunter, and the screen fades to black as Hunter's crying turns into laughter. An epilogue text states that Ali was on a school trip, and she found the bodies of Daniel and Kristi upon her return home and that Katie and Hunter's whereabouts remain unknown.

Five years later, in November , Alex Nelson lives in a wealthy suburb of Henderson, Nevada with her father Doug, mother Holly, and little brother Wyatt. When their new neighbor falls ill and is taken to the hospital, her son, Robbie, is left in the care of the family. One night while Alex is sleeping, her boyfriend Ben's computer starts recording her laptop webcam, and he sees Robbie getting into the bed with her.

The next day, Wyatt tells Alex about Robbie's friend, Tobi. After strange events happen, Alex and Ben set up cameras all over the house. On the third night, the strange happenings escalate until one day, Alex finds a trail of toys that leads to a closet. She finds Robbie, who says, " He doesn't like you watching us," as a chandelier falls and almost kills her. On the sixth night, Alex sees many cars parked outside Robbie's house, and goes to check it out, but runs back home after being caught by a strange woman in a black gown.

The next day, Wyatt has an encounter with an invisible force. Wyatt later reveals a green symbol on his back to Alex and Ben and tells them, "I had to meet him. They learn that to complete the possession ritual, Wyatt would need to spill the blood of a virgin - Alex is revealed to be a virgin. The next day, the boys go to Robbie's house. Alex follows them; Katie from the original film , presumably Robbie's mother, has returned from the hospital.

Wyatt explains to Alex that Katie knew he and Robbie were both adopted and that Wyatt's real name is "Hunter". Katie told Wyatt his old family wants him back.

On the ninth night, Doug hears a creak in the kitchen. He investigates and starts believing Alex when a kitchen knife falls right in between him and the camera. The next night, Wyatt argues with Tobi about his real name. While Wyatt is taking a bath, he gets pulled underwater by Tobi. When he rises, he appears to be in a trance.

That night, while Alex is asleep, Wyatt makes the blanket fly off the bed and levitates her in mid-air. On the twelfth night, a possessed Katie is seen sneaking around. Alex hears the garage door open, so she goes to close it. It opens again and the door crashes down, almost killing her.

Katie enters the house and goes to Wyatt's room, where she tells him that she'll wait until he is "ready". The family's car turns on by itself and begins spewing exhaust.

Alex escapes the garage and attempts to show her parents the footage of this incident, but the footage has been mysteriously erased. Her parents think she's gone crazy. The next night, Doug and Alex go to dinner to talk about the strange events that had been occurring.

While they are gone, Holly is violently thrown against the ceiling, dying upon impact. Katie drags her body away. Ben comes over to meet Alex, but no one is home. He attempts to leave a message on Alex's laptop but Katie appears and kills Ben by snapping his neck. Alex and Doug arrive home and Doug goes next door, believing he saw Holly and Wyatt. It took what was completely mundane, which was our own home, our own lives, and turned it upside-down and made it scary.

I think every film we try to build on that. We try to find something that is, again, common to everybody. Something that is close to their home, if you will, and make it scary.

Also, we created this mythology. As I was cutting all the other films, I always just told myself a story. We always had a script. As an editor, to have a point of view, and to really get into a scene, I was always telling myself a story. To find what happened to this special camera that lets you see [the demon] and lets you actually live in the dimension where the demonic activity happens.

That was the fun thing. Those were all the stories that I had in my head for the last four or five years that I was able to finally get out onto the screen.

That was the big thing. I think showing, finally, what was going on and answering the questions for people. How did you come to the conclusion that you were going to integrate spirit photography into this film? Was that already in the works, or how did that come about, and how did you go about deciding how that would look? Spirit photography sort of evolved, because we always started with the idea of the camera.

Started with the idea of the tapes and the camera being the vehicle to show us another dimension. As we researched it felt very natural to get into spirit photography.

It was really just one of those natural things that we sort of fell into. In terms of how we were going to make it look, that we did a lot of research on. That has these sort of ghostly images. Old black-and-white images, especially, where you see the sort of haunted image in the background.

Konrad Becker and Felix Stalder. London: Transaction, Romero, Mary. Schwartz, Herman. Ithaca: Cornell UP, Shaviro, Steven. Post-Cinematic Affect. Winchester: Zero, Introduction reprinted in this volume. Snelson, Tim. Solomons, Jason. Guardian , Guardian Media Group. Stevens, Dana. Turek, Ryan. Vancheri, Barbara. Williams, Linda. Zaretsky, Natasha. Parts of my argument in this chapter first emerged in an online round-table published in La Furia Umana in in which Nicholas Rombes, Steven Shaviro, and I responded to one another and to thoughtful prompts from Therese Grisham, so I owe all three a debt of gratitude for such a rich and cooperative discussion in which I could test and develop my fledgling ideas about these films.

The enthusiastic discussions that ensued after I presented drafts in lecture form at Edinburgh Napier University and Leibniz University of Hannover further contributed to the development of this chapter. This version is a reprint of the article published in Jump Cut 56 Steven Shaviro draws on this concept from Williams in his definition of post-cinematic affect reprinted in this volume.

McIntyre, and Diane Negra, Routledge ISBN online. Parameters for Post-Cinema 1. Experiences of Post-Cinema 2. Techniques and Technologies of Post-Cinema 3. Politics of Post-Cinema 4. Archaeologies of Post-Cinema 5. Ecologies of Post-Cinema 6. Hansen 6. Dialogues on Post-Cinema 7. Romero , citing Silbaugh The ironic hierarchies of gender, race, and class in Paranormal Activity 2 crystallize around the figure of Martine, whom Ali sincerely refers to as a part of the family when she learns that her father Dan has fired her.

Demon Day-to-Day: Ordinary Horror Descended from the Gothic novel, paranormal horror trains attention on the private home as a domestic site: in which families live, in which power hierarchies co-exist with complex emotional ties, and in which paranormal beings terrorize humans, showing that daily life is both normal and paranormal.

Figure 8 — Micah and Katie live in a generic-looking new development in San Diego. Figure 10 — Sisters Katie and Kristi have similar names and few distinguishing character traits, making it easy to confuse them for one another.

Figure 11 — Day trader Micah spends a lot of time in front of his multiple computer monitors, following financial markets. Figure 12 — Micah sports a Coin Net tee shirt, reaffirming his identity as a day trader.

Demon Data: Post-Cinematic Digital Aesthetics These horror movies foster affective responses appropriate to the recession-strapped 21st century, an era that few will deny is post-cinematic. She's also a child here but, conversely, even back then she dreamed of being thrown out of a room by an invisible demon with designs on her baby and then allowing an earthly representation of the devil to murder her. I bet she felt pretty smug when those precise things happened to her in Paranormal Activity 2.

We've already been in and , so it's hard to say when this shot was supposed to take place. The first film? The second film? The new film? My guess is that this shot takes place midway through the Battle of Passchendaele, because the photo looks scorched. There's every chance it's after; in which case I'd like to congratulate the devil on the clean lines and neutral shades of its interior design, and also to beg that it doesn't watch me sleep for eight hours and then repeatedly hurl me against a wall until I die.

Or the demon from Paranormal Activity 2.