In the film ‘Crash’ by Paul Haggis, various cinematography effects and language features are utilised in order to have a powerful and emotional response within the audience. A cinematography effect, primarily used as a visual opportunity for the audience to create an initial response, was costume. The director uses costume as a tool to push forward the audience’s preconceived opinion on someone, usually as a result of stereotypes. As ‘Crash’ takes place in the heavily racially diverse city of Los Angeles, an apparent range of difference between skin colour and religion is present, ranging from white privileged families such as the Cabot’s to the socially ‘shut out’ and economically struggling black friends of Anthony and Peter. The variation within and between characters allows the audience to be given plenty of different opportunities to create a rich emotional response. Many, if not most, of these prejudiced based ideas are formed due to stereotypes and society’s perception formed around what these stereotypes enforce. Paul Haggis uses these aspects to his advantage when physically presenting his characters in the film to the point where the audience can catch themselves making immediate assumptions on their ethnic background, home life, wealth and many more aspects of their life, after just one introduction to a character. Over-privileged housewife, Jean Cabot, serves as a representation of the discriminatory reactions towards a foreign community based on what one can see. This assumptious behaviour is included in our first introduction to black friends, Anthony and Peter. Both dressed reasonably well, the assumption that they possibly stole it may be made due to the African-American criminal stereotype. Ironically after the two friends are speaking about the unjustified prejudice expressed towards them, they jack the car of the wealthy white couple, Jean and Rick Cabot. The idea revolving around the criminal stereotype of black people is especially pushed by Jean, as she says “I just had a gun pointed in my face! […] and it was my fault because I knew it was gonna happen. But if a white person sees two Black men walking towards her and she turns and walks in the other direction, she’s a racist, right? Well I got scared and I didn’t say anything and ten seconds later I had a gun in my face.” This twisted type of mannerism is also evident when Jean is talking about Mexican-American locksmith, Daniel, in the aftermath of the car jacking. By referring to him as a gang member with the “shaved head, the pants around his ass, the prison tattoos…”, as well as convinced he’s going to sell their new lock’s key to his ‘gangbanger’ friends, it is clear she is making her surface-based opinions on his appearance. As the audience, you likely perceive yourself to be opposed to these racially insensitive ideas displayed in the film, however once forced to make an initial impression on a character based solely on what is visually presented, a strong emotional response is made once you realise how effortless it is to fall into society’s demanding trap of perceived stereotypes. The director deliberately utilises the technique of costume in order to emerge the audience into the film, ultimately causing an emotional connection as well as an emotional response.