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Bearing Witness to a Whole Bunch of
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ii Table of Contents Acknowledgemen
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iv Acknowledgements Without the fol
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vi The Friday the 13 th Film Series
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viii the assumption that the text d
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x Argument Friday the 13 th is an e
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xii 3 - The Friday the 13 th series
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xiv process which includes a craft
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xvi influence other film texts, but
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xviii not only address the film tex
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xx time between the latter films is
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xxii between people who then attemp
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xxiv The first device to be discuss
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xxvi shifts between characters with
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Introduction Part 2: The Historical
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xxx Massacre (1974; dir. Hooper) al
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xxxii the increased investments in
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xxxiv Chainsaw Massacre 2 (1986; di
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xxxvi added novelty of displacing J
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xxxviii the Friday the 13 th franch
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xl points of contact with Jason Goe
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xlii vengeance. The sequel, release
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xliv Scream, which overtly addresse
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xlvi updated generic formula to it.
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xlviii (2009; dir. Zombie), and the
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l sequences of Saw, where Adam and
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1 Chapter 1: Perspective Imagine th
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3 of Eyes Wide Shut, it does not ad
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5 The Hidden Fortress (1958; DVD re
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7 dizziness, of madness, of suspens
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9 the landscape becomes more colour
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- Page 75 and 76: 23 Chapter 2: The Eye/Camera Define
- Page 77 and 78: 25 Overall, the eye/camera contains
- Page 79 and 80: 27 As voyeurism is itself the pleas
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- Page 83 and 84: 31 through use of the eye/camera, w
- Page 85 and 86: 33 satisfactorily address the aesth
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- Page 89 and 90: 37 ...this horror formula is best i
- Page 91 and 92: 39 particularly concerning editing.
- Page 93 and 94: 41 viewer into the first person, I
- Page 95 and 96: 43 In films such as The Wolf Man (1
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- Page 101 and 102: 49 language) is inescapably literal
- Page 103 and 104: 51 to give precise spatial relation
- Page 105 and 106: 53 escape the threat. Occasionally
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- Page 109 and 110: 57 perspective established in the f
- Page 111 and 112: 59 Aside from the case of A Nightma
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- Page 119 and 120: 67 Kingdom, largely because of the
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- Page 125 and 126: 73 takes, and the large number of e
- Page 127 and 128: 75 I loved the original Halloween.
- Page 129 and 130: 77 eye/camera, to create a final su
- Page 131 and 132: 79 Cunningham: “Working on a limi
- Page 133 and 134: 81 directly involves the viewer wit
- Page 135 and 136: 83 Direct Eye/Camera Although Cunni
- Page 137 and 138: 85 Vice President of distribution a
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- Page 143 and 144: 91 As she does so, we see her eye/c
- Page 145 and 146: 93 narrative structure of the film
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- Page 151 and 152: 99 A shot is shown of Jason’s hoc
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113 perspective experience, and ult
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115 tendency of a previous group of
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117 eye/camera, however, is only on
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119 and pushed beyond the limits of
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121 diegetic in nature, with an uns
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123 demonstrate that not only does
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125 clearly onto the perceptual scr
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127 this use of sound design in a m
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129 front of her body without touch
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131 flows onto his throat and chest
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133 downward grazing the hanging li
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135 to Alice’s perspective during
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137 The sounds indicating the stabb
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139 Friday the 13 th Part 2 only co
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141 one simple way to give an impre
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143 explicitly showing it. The firs
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145 moving from the left of the fra
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147 Wade following him as he backs
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149 for about four seconds, before
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151 toward open windows and doors,
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153 shard of broken mirror above hi
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155 demonstrate an advance in depic
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157 disappears below the frame, a j
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159 accompanied by a swish sound of
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161 Robin’s death sequence contai
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163 While this chapter has placed f
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165 sequences from the perspective
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167 steeped within genre theory. Ho
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169 ‘sequel’ - or, if you like,
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171 Nerve was not just a prototype
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173 some of the same characters (in
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175 previously introduced to Alice
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177 another, with a certain amount
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179 narrative, although it is appar
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181 returning the screen to black.
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183 shooting new footage that can b
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185 teenager in the area, and every
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187 The only elements of the inform
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189 After this, while a familiarity
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191 inside the eye hole can be seen
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193 attain a familiarity with the F
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195 is a cut to the logo on the out
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197 seeing Jason’s corpse will no
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199 hacking at Jason with a machete
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201 Despite the indication provided
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203 The word ‘remake’ is, howev
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205 share more in common with those
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207 cinematic experiences. This ind
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209 specific response in the viewer
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211 Beginning also represent the po
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213 Secondly, this tendency to resp
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215 is a series of patterns, lines
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217 book. Bordwell, however, takes
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219 at least as important as style,
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221 friction between Žižek and th
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223 opposition to the method, writi
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225 seventies films respond to the
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227 In his book Authorship and the
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229 implications for the way mainst
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231 Appendix 1 Plot Summaries for t
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233 what happens to Alice at the en
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235 Friday the 13 th Part VII: The
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237 Jason X (2001; dir. Isaac) Igno
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239 was kidnapped and being kept pr
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241 Marcie Cunningham: Girlfriend
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243 Terry: Attractive and sporty f
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245 Loco: Shorter male gang member
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247 Terri: One of the two identica
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249 Pam Roberts: The “Final Girl
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251 Jason Lives! Friday the 13 th P
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253 Friday the 13 th Part VII: The
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255 Friday the 13 th Part VIII: Jas
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257 Jason Goes to Hell: The Final F
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259 danger, goes to great lengths t
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261 He is potentially killed when h
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263 Freddy vs. Jason Bill Freeburg
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265 Friday the 13 th (2009) Amanda
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267 Works Cited - Text and Online A
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269 Booth, S. (1990) “The Functio
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271 Bradley, D. (1996) Sacred Monst
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273 Christie, I. (1994) Arrows of D
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275 Dika, V. (1990) Games of Terror
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277 Frampton, D. (2006) Filmosophy,
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279 Harman, J. (1960) “Unhealthy
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281 James, H. (1898) The Turn of th
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283 Kolker, R. (2006) Film, Form an
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285 McLarty, L. (1998) “‘I’ll
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287 Neale, S. (2000) Genre and Holl
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289 Prince, S. (ed.) (2004) The Hor
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291 Schrader, P. (1979) “Paul Sch
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293 Time Out London- Film Reviews-
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295 Variety Staff (1980) “Friday
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297 Wierzbicki, J. (2011) “Lost i
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299 Žižek, S. (2013) “Zero Dark
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301 Works Cited - Films Ali. Dir. M
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303 Corporation / Davis Entertainme
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305 Bride of Chucky. Dir. Ronny Yu,
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307 Chinatown. Dir. Roman Polanski,
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309 Deep Red (Profondo Rosso). Dir.
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311 Evil Dead, The. Dir. Sam Raimi,
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313 Cunningham Films / WTC Producti
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315 Friday The 13 th Part VIII: Jas
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317 Halloween H20: 20 Years Later.
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319 Main Cast: Michael Rooker (Henr
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321 House. Dir. Steve Miner, Prod.
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323 Jason X. Dir. James Isaac, Prod
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325 Man Who Knew Too Much, The. Dir
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327 Langenkamp (Herself/Nancy Thomp
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329 Notorious. Dir. Alfred Hitchcoc
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331 Predator 2. Dir. Stephen Hopkin
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333 / LivePlanet, 2001, USA. Main C
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335 Scream 2. Dir. Wes Craven, Prod
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337 Sunset Boulevard. Dir. Billy Wi
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339 Pictures / Return Productions /
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341 Stark/Trevor Stark), Hart Bochn
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343 Consortium, 2001, UK / Canada.