Clayton George Wickham - final thesis

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narrative structure of the film fluidly moves mostly between Tina, who is the final
girl of the film, and Jason, linking the two. Though the centre of the film favours
Jason eye/camera shots, the audience is initially presented with Tina’s perspective
before experiencing Jason’s perspective extensively. In this way, the film is
developed in order to initially attach the viewer to the protagonist before closely
witnessing the atrocities committed by the antagonist. The climax, in which Tina
and Jason meet in a series of battles, alternates frequently between Tina’s and
Jason’s eye/camera, creating a sense of perspective confrontation. In this way, the
viewer does not only witness the showdown between the two characters, but the film
also attempts to develop a struggle between two opposing perspectives, which is
concluded as the eye/camera of Tina’s dead father is seen as he sneaks up on Jason
from behind and drags him into the water.
Jason Takes Manhattan has a more consistent eye/camera design than its
predecessor, indicating that any sense of standardisation in aesthetic design has
become tenuous at this point. The use of eye/camera between The New Blood and
Jason Takes Manhattan is different to the extent that it appears to be less
evolutionary and more reactionary; the design of Jason Takes Manhattan appears to
be less of a development of the design of The New Blood, and instead an attempt to
create a design distinct from it, where the eye/camera is concerned. There are only
three eye/camera shots from Jason’s vantage point, but providing a counterpoint to
the victim eye/camera shots are misleading shots of a character approaching another
character or characters, framed in an aggressive or stalking manner. As the character
is initially unidentified the viewer is meant to think he or she is seeing through
Jason, which is usually not the case. Examples of this include two sequences shot
from Charles’s eye/camera: first, as he walks up on Tamara and Eva with drugs in a