When I decided to pick The Conjuring to create a montage of, I knew the end result would be very dark. Horror films thrive in darkness; it is where they find their suspense, where the protagonists shiver in fear. What I noticed upon re-watching the movie, however, was that there’s a lot of visually striking brightness in the film. Any time the characters are outside in the daytime the visuals are overwhelmingly bright, the clothes, colors, and somehow even the trees tinged with a 1970s-esque glow. This is especially evident towards the end of the film, when we get a a glance of a memory of Carolyn Perron’s children playing at the beach. The screen is almost unbearably bright, especially considering that the previous scenes all took place in terrifying darkness. This spot is so bright that it is clearly evident in the montage–in the third to last row, there are 4 or 5 images that seem almost white. Other than this particular moment, the montage is overwhelmingly dark. The colors that seemed so vibrant in my viewing of the film get overtaken by the sheer amount of creepy black and detached gray present in the movie, making the montage mostly black with small spots of brightness every once in a while. I’ve always found macroanalysis to be intriguing and useful, especially in analysis of aesthetics or themes. It reminds me of the old adage that one cannot see the forest because of the trees; sometimes it is useful to take steps back and get a complete idea of a work as a whole, rather than analyzing it piece by piece. This can help us understand films and other media much better. If I were to make montages for multiple films, I could probably begin to guess the genre of a movie just because of the predominant colors in its montage. I also think I would be more aware of consistent aesthetic trends throughout movies, rather than analyzing the smaller details that vary scene-by-scene.