Clayton George Wickham - final thesis

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eye/camera shots and objective shots is a reflection of the evolution of the genre’s
aesthetic, and also a quality of these remakes that borrow visual style without the
meaning behind it.
In spite of this, eye/camera shots can be detected through defining space and
character positioning outside of eye/camera locations. For instance, after hearing
someone outside, Amanda, assuming it is Wade watching her have sex, tells Richie
to go and tell him to leave. After Richie exits the tent, Amanda waits a few moments
and then looks out of the tent flap for Richie. From her defined position, we see her
eye/camera, which is partially framed by the edge of the tent opening. Later,
Chelsea, seeing Jason on the shore of the lake watching her, goes underwater and
swims under the dock, waiting for him to leave. We see a medium shot from her,
and long shots of Jason’s location where they are in relation to each other, and
Chelsea’s eye/camera reflects this position, revealing it to be a true eye/camera shot.
There are also many eye/camera shots from Jason’s position. As the young worker
in the attic of the barn where he works looks around at the different artefacts, the
camera approaches him from behind, and moves very close to him. Then, in reverse
shot, we see Jason from this position just before he attacks. Jason’s eye/camera is
also seen as he walks up to Trent’s house and looks into the window where Trent
and Bree are shown having sex. As the camera gets closer, the light from inside the
window reflects off the hockey mask which reflects off the window, revealing
Jason’s position, informing the viewer that he/she is witnessing an eye/camera shot.
Although Friday the 13 th (2009) contains more victim eye/camera shots than
Jason eye/camera shots, the numeric difference is small. Ultimately, the nearly equal
appearance of both enhances the sense created of perspective ambiguity, and either
adapts the film to individual viewer perspective or creates disorientation. Again, in a