Clayton George Wickham - final thesis

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cargo room, and second as he slowly approaches Rennie from behind as she drops
the anchor. Another example happens as Sean, Rennie, Charles and Miss Van
Deusen escape in the life boat. As they are floating away, an apparent eye/camera at
water level moves steadily towards the life boat. As it approaches, there is a reverse
shot inside the life boat, and from the previous shot’s eye/camera position, Julius
leaps suddenly from the water and into the boat. These shots contrast directly with
victim eye/camera shots, such as Suzy’s as Jason hits her with her guitar, Tamara’s
eye/camera as she looks through the crack in the bathroom door, watching as Jason
wanders the corridor in search of her, and Eva’s eye/camera as she stands on the
dance floor looking around and seeing Jason almost everywhere she looks,
intercutting her eye/camera with reverse shots of her looking around the room in
panic.
Once the remaining group arrives in New York City, Rennie’s perspective is
dominant, eye/camera inclusive. Exceptions include the junkies watching the group
before attacking them, and an eye/camera shot based within Julius after Jason
decapitates him. We see through his eye as his head spins through the air and lands
in a dumpster. 9
After that, all but one significant eye/camera shot originate within
Rennie. We see Rennie’s eye/camera as she is walking down the alley after escaping
from the junkies, images in the frame blurred to indicate the effect of the drugs
forcefully administered to her, as well as Rennie’s eye/camera as she drives toward
Jason, verified by the fact that the previous and following shots show her in the
9 The first of these examples proves consistent with the eye/camera design to this point. While the
junkies are identified as the source of the eye/camera, this shot still inhabits an aggressive perspective,
in a manner similar to the stalking eye/camera shots from the perspectives of Charles and Julius. The
eye/camera shot from Julius’s decapitated head can be identified as a form of spectacle within a film
with a premise that hinges on spectacle: displacing a familiar, iconic character, Jason, to a familiar
iconic location, Manhattan.