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Giới thiệu: Câu chuyện kể về một thị trấn nhỏ, cư dân ở đó rất khó chịu về sự xuất hiện của một người kỳ lạ và khó hiểu sống ở một ngôi nhà mà nhìn bên ngoài chẳng khác gì một ngôi nhà ma. Một ngày nọ, ông thị trưởng quyết định đi cùng hai người nữa trong thị trấn đến nhà người đàn ông kỳ lạ nọ trên ngọn đồn, và yêu cầu ông ta phải dọn đi chỗ khác.

Khi họ đến, ông thị trưởng bắt đầu thuyết phục người đàn ông dọn khỏi thị trấn, nhưng người mà thị trưởng đang nói chuyện là Michael Jackson, và anh ta bắt đầu hát và dọa ông thị trưởng. Cuối cùng, ông thị trưởng sợ quá và bỏ chạy, và sau cùng, mọi người nhận ra Michael không phải là quá xấu
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Ghosts is a short film starring Michael Jackson which could also be classified as a long-form music video. It was filmed and first screened in 1996 and released along with select prints of the film Stephen King’s THINNER. It was released a year later internationally on VHS. The film tells the story of a scary Maestro with supernatural powers, who is being forced out of a small town by its mayor. The movie includes a series of dance routines performed by Michael Jackson and his “family” of ghouls. Every song from the film was taken from Michael Jackson’s HIStory and Blood on the Dance Floor albums. The film is also notable for an early film appearance of rapper Mos Def.

Ghosts has much in common with its most direct predecessor, Thriller. Originally released in 1983, “Thriller” also featured Jackson as the main protagonist/antagonist, interacting and choreographed with “undead” dancers. Likewise, both films act as homages to monster films past.

While Thriller could be viewed as a tribute to 1950s – ’70s genre films (I Was a Teenage Werewolf and George Romero’s Living Dead series among them), Ghosts owes more directly to the Universal Monsters series of films. Even its opening sequence recalls scenes of torch-wielding villagers storming the castle gates of an assumed antagonist, a repeating motif in movies ranging from 1931’s Frankenstein to 2004’s Van Helsing.

Ghosts also can be viewed as a not-so-thinly veiled self-commentary by Jackson on his personal circumstances in the years preceding its production. Direct parallels can be drawn between various elements in the film and Jackson’s own life: The Maestro – a reclusive, solitary figure, living removed from the townspeople, and interacting primarily with their children – is attacked by evil-seeming white and black figures with power in a manner similar to how Jackson perceived his own situation.

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