This film was constructed using the so-called “photo-finish” technique employed in sporting events. The same principle was applied, precisely, to the motion picture camera. The subjects are explored and self-explored using a thin slit arranged horizontally halfway along the aperture plate as they enter the motion picture camera itself. The images then are formed as an extremely dense series of lines as in a primitive video screen, such as the Nipkow. The cinematic rhythms of the film vary with the accelerations and decelerations imposed beyond the synchronism between movie camera and subject: with motion from top to bottom, or else with the movie camera lying sideways, (in that case the line is vertical) then, from left to right and vice versa. Of course without a shutter or claw [in the camera]. This filmic technique is well known in scientific cinematography, and it is this very combination that I most urgently desired to encompass in my graphic compositional concerns.
Five years after they defeated Zuul, the Ghostbusters are out of business. When Dana begins to have ghost problems again, the boys come out of retirement to aid her and hopefully save New York City from a new paranormal threat.