(Spirit) Photograph as a Narrative Gadgetry in Shutter Films

Bazin’s ontological realism indicates that photo image is object itself and photographic image is index as a proof of existence of object when it was taken in front of camera. Photograph is not, in fact, the object itself whose picture was taken in front of camera. The photographic image is a imprint, molding, and the transfer of reality. For spirit photograph, indexicality becomes an inappropriate concept because even though camera lens catch spirits in front of camera, they appear only on film or ghosts are considered to be invisible to the human eye.In two Shutter films, spirit photograph drives narrative forward because it engenders curiosity and interest from female characters as detective who are trying to divulge their lovers’ heinous past. Two Shutter films’ narrative seems to support spiritual reality in that the last scene of the films shows female ghosts still haunts male protagonists. Female ghost in their movement locates the hidden place where male protagonists, Tun’s and Ben’s secret photos about their past crimes are concealed. The last photo developed by the Polaroid solves the mystery around the female ghost haunting male protagonists. The last images that show that female ghosts, Natre and Megumi are still haunting, on their shoulder and at hospital room, male protagonists, Tun and Ben in two Shutter films tell us how strong the past is still having on effect on the present.