Clayton George Wickham - final thesis

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As she does so, we see her eye/camera during the attack. Although she is the victim,
Pam is actively pursuing ‘Jason’ with violent intent. In this case, the eye/camera
shifts from victim being attacked to retaliating victim. This is followed by ‘Jason’’s
eye/camera after Pam and Reggie hide as he looks around the barn. This eye/camera
shot takes the position of a violent attacker who has less knowledge of his victims’
whereabouts than the viewer, in a sense making him weaker than the people he is
stalking, especially when compared to the aggressive positioning of the victim in the
previous eye/camera shot, and in contrast to other established uses of the eye/camera.
Although the perspective created by the eye/camera varies, there is a
consistency to its gradual adjustment. The viewer is initially positioned closely to
Tommy while revealing him to be a suspect, and as the killing begins, the viewer is
subjected to the immediacy of the death blows inflicted on the victims. This gives
way to creating first the perspective of an aggressive victim followed by a weakened
attacker. This progression of positioning and perspective within the eye/camera is
more varied than preceding films in the franchise, and is not replicated for the
succeeding sequels or the remake.
Jason Lives! contains few eye/camera shots in comparison to other films in
the franchise released during the Paramount years. Although there are different
approaches to the eye/camera, few shots are directly taken from a character’s
immediate positioning. 7
These eye/camera shots seem to have little design in the
7 The first direct eye/camera shot is of Lizabeth after she falls out of the car and reaches into her
wallet to give Jason money as he approaches her. After she looks up, he has disappeared and we see
through her eye as she looks around the area for him. Secondly, we see from Roy’s eye/camera as
Jason throws him roughly into a tree. Next, the viewer is shown an eye/camera shot of unknown
origin as Jason slashes a machete through three executives at once. The seer is unidentified, though
no suspense is derived, as the view is essentially the same for any of the three characters. Fourth,
there is an eye/camera shot of a policeman as he looks at Roy’s severed limbs, and another