For the entirety of \"Oculus,\" the narrative cuts back and forth from the adult pair's efforts to ghostbust the mirror with what happened to them years earlier. Young Tim (Garret Ryan) and young Kaylie (Annalise Basso) moved into a lovely home with their father Alan (Rory Cochrane), a software designer, and their supportive mother Marie (Katee Sackhoff). And then Dad went antique shopping. With far too little set-up, pop goes off the mental rails and mom is left an inevitable victim. The flashbacks in \"Oculus\" have a depressing fatalism because we're told who will live and who will die early on, turning these scenes into an exercise in inevitable gore. The lack of suspense is more disheartening when one realizes that the hole hasn't been filled by any sort of social context at all. Films like \"The Shining\" and \"The Amityville Horror\" also trafficked in the inevitable but grounded their narratives in cautionary tales of how familial stress and other external factors like alcoholism can destroy a patriarch.
The \"present day\" material in \"Oculus\" is much more effective, thanks largely to a game performance from Gillan. She renders Kaylie as a driven woman on the edge of sanity herself. When she growls at the mirror, \"You must be hungry,\" one can see the B-movie glory that \"Oculus\" could have been. Her younger brother got the treatment he needed but Kaylie was left to fight for the day she could get vengeance on the mirror that wrecked her life. Gillan sells that hair-trigger intensity in the film's best moments, and when Flanagan and co-writer Jeff Howard open the door to the however-brief possibility that Kaylie may actually be crazy, \"Oculus\" is at its most interesting.
In Experiment 2, participants were classified as either hearing,hard of hearing, or deaf. Before taking part in the study, thosewith hearing impairment completed a questionnaire about the severityof their hearing impairment, age of onset of hearing impairment,communication preferences, etc. and were asked if they describedthemselves as deaf or hard of hearing. They were also asked toindicate their education background (see Table 5). We recruited 27hearing, 10 hard of hearing, and 9 deaf participants. Of the deafand hard of hearing participants, 7 were born deaf or hard ofhearing, 4 lost hearing under the age of 8, 2 lost hearing betweenthe ages of 9-17, and 6 lost hearing between the ages of 18-40. Ninewere profoundly deaf, 6 were severely deaf, and 4 had a moderatehearing loss. Seventeen of the deaf and hard of hearing participantspreferred to use spoken English as their means of communication inthe study and two chose to use a British Sign Language interpreter.In relation to AVT, 84.2% stated that they often watch films inEnglish with English subtitles; 78.9% declared they could not followa film without subtitles; 58% stated that they always or very oftenwatch non-English films with English subtitles. Overall, deaf andhard of hearing participants in our study were experienced subtitleusers, who rely on subtitles to follow audiovisual materials. 153554b96e