As a more experimental and less popular concept for a horror in the most part, in of proceeding plot, Picnic at Hanging Rock brings more to the table than initially expected. To start it is based around an incident that happened in 1900 at the location of Hanging Rock in Australia, where several girls from a local college disappeared entirely. A class of young girls go on a trip to the hanging rock, where they intend to celebrate valentines, when a group of four decide to climb further into its reaches, where they reach a strange presence on a sheltered area of the formation. Progressing past the main event we as an audience are encouraged to deliberate upon the characters as they reel and turn from circumstances that follow.
For the purpose of this set up, the outset is constructed as to cast a speculative light on these events, and to explore the landscape around it, locating stigma and potential culprits. In several scenes we are led to believe that somehow a more higher entity is behind events that occur, but then again, there are also many times that the girls respond willingly to the unusual behavior of the environment without question, even taking their shoes off at one point despite the established danger of wildlife.
'Discussion of the relationship between the audience and what it sees on screen inevitably leads us to re-examine just what it is that constitutes the experience of going to the cinema.' (Turner, 2006) We may speculate one way or another, since it plays to the screen that when we expect things to happen they do in one method or another; so many strange occurrences can emerge in one sitting, but each is connected neatly together on a single string however one may like it.
The story itself is so vague yet is consistent enough to make sense in the broad perspective. Contingency may also, in theory be reflected in selected symbolism throughout the running time, with many options being available to those who seek them '...among its viewers; this is the element that brings the film and characters to life.
In so far, it is considered a cult film out of interest for the themes and content is presents throughout its course. Such a foundation is rife and heaven for the speculative. '...we might enumerate these symptoms as art, love, homosexuality, and the local, each of which is shown to be impossible to maintain in the face of the rules that function here as the visible form of the universal.' (Cubitt, 2005) But despite what is said none may be officially confirmed as canon or true, for it may interfere with the face of the film and its mechanics. At least that is what is inferred from its writing...
Cubitt, S. The Cinema Effect. 1st ed. Cambridge: MIT Press, 2005. Print
O’Donoghue, Darragh. "Picnic At Hanging Rock (Peter Weir, 1975)". Senses of Cinema. N.p., 2014. Web. 10 May 2017. http://sensesofcinema.com/2014/key-moments-in-australian-cinema-issue-70-march-2014/picnic-at-hanging-rock-peter-weir-1975/
Turner, Graeme. Film As Social Practise. 4th ed. London: Routledge, 2006. Print.
fig 1. Weir, P (1975). Picnic at Hanging Rock. [italian poster] [10/05/17]
fig 2. Weir, P (1975). Picnic at Hanging Rock. [still] [10/05/17]
fig 3. Weir, P (1975). Picnic at Hanging Rock. [still] [10/05/17]
fig 4. Weir, P (1975). Picnic at Hanging Rock. [still] [10/05/17]
fig 5. Weir, P (1975). Picnic at Hanging Rock. [still] [10/05/17]