Clayton George Wickham - final thesis

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camera. We then see through the victim-camera, complete with artificial frame and
time-counter. Wayne uses the camera to identify one of his fellow students who he
just shot due to his bad eyesight. The camera tilts up and Jason appears in the frame,
smashing the camera, which is where the victim-camera shot ends. This is an
additional aesthetic device used in order to vary the experiential positioning of
victim. The use of the victim-camera in Jason Takes Manhattan is a device not
frequently seen in the slasher film at this point. Although films like Peeping Tom
and Cannibal Holocaust have used it before this point, Jason Takes Manhattan
precedes The Blair Witch Project by ten years, which popularised this form of
perspective as a dominant aesthetic positioning. Therefore, Jason Takes Manhattan
serves as a significant precursor to the later victim-camera trends, particularly as it
uses what was, for that time, more accessible home video recording equipment
instead of the film cameras used for Peeping Tom and Cannibal Holocaust. This
also brings this specific home video aesthetic to a mainstream film that was used
effectively three years earlier in a sequence in the independent horror film Henry:
Portrait of a Serial Killer (dir. McNaughton).
Freddy vs. Jason utilises an off-model eye/camera shot at a significant point
in the narrative. In a sequence similar to the eye/camera shot reverse shot
conversation between Lori and her father, Gibb, in the dream-world boiler room,
hides from Freddy in a locker. After a few moments, the locker door opens, and
Freddy is in front of her, suspended upside down in the air. Gibb screams, and
Freddy laughs, which we first see through Gibb’s eye/camera, then through Freddy’s
off-model eye/camera, as Gibb appears with her head at the top of the frame, body
below, instead of her head at the bottom, body above as would be seen from