Clayton George Wickham - final thesis

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of the truck, pondering the object as Ted asks “What’s that?” Jeff responds,
“Where’d that sucker come from?” and Ted replies “I don’t know. Let’s move it.”
As this exchange occurs, the viewer is placed in a stalker’s, most likely Jason’s,
eye/camera, watching the unsuspecting characters as they move about, placing this
viewer in a more powerful position than the characters he or she is watching. Later
in the film, Deputy Winslow, chasing Jason through the forest comes upon his
makeshift shack. We see through Deputy Winslow’s eye/camera as he explores the
cabin, actively looking around this location. Although he is actively investigating
the premises, the fact that he is killed in the process implies limited control; his death
indicates that there is something he did not see. His actions may be proactive, but
his perspective is fallible.
With Friday the 13 th Part III 3-D, Miner often reverses the inhabiting
perspective of the eye/camera to the victim, which is further enhanced by the 3-D
effects. This exposes the vulnerability of the 3-Dimensional cinema viewer, thereby,
through different means, places the film in a position of power over the audience.
Regarding the decision to shoot Friday the 13 th Part III using 3-D devices and
aesthetics, Miner said, “With the Friday the 13 th films, we had always made a
conscious decision to make the same movie over again, only each one would be
slightly different.” (Bracke; 74) Miner continued, “So it occurred to me that a Friday
the 13 th Part 3 and 3-D would be a perfect combination.” Utilising 3-D provides the
impetus for taking the formula established by the first two films in the series, but
aligning the perspective with the victim, unlike the tendency to place the eye/camera
in positions of power in the first two films. Thomas M. Sipos directly compares 3-D
to victim-orientated point of view shots: “Like 3-D photography, a victim’s POV
helps audiences experience scary events firsthand.” (2010; 83) Frank Mancuso, Sr.,