In Doppelganger, The two characters move like humans do at both the age of a child and an adult, but at times they also move erratically and in an unnatural fashion. A connection can be made between these characters and the hybrid mechanical toys they manipulate. While the forms of the characters also appear human, they too seem to have been modified as the face does not seem to correspond with the rhythm of movement, or the size or posture of the rest of the body. We may feel more distinctly that the body is a machine and unsettled by the detachment between the mind and the body, that the outward appearance is separate from the consciousness that controls it. The unsettling tone of the film is counteracted by moments of humour as the smaller character displays a biscuit to the camera in a child-like gesture, or leaps down to pick up a toy that has been dropped. This conflict in tone may also induce a liminal state where we are unsure whether to respond to the film with humour or feel disturbed by its ‘uncanny’ nature, and individual responses to the film may vary based upon the psychological nature of the viewer. The gestures of the smaller character display a lack of self awareness and impulsive actions familiar with a child, while the larger character moves more slowly and deliberately, as if informed by more learned and repeated behaviour patterns. These factors suggest that as much as we alter our body or outward appearance our minds reflect our identity and cannot easily be masked or altered.


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