Clayton George Wickham - final thesis

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method of establishing viewer perspective. The similarity of eye/camera usage of
the first two sequels can be attributed to creative control maintained by significant
creators of the original film. The third sequel, adapted the initial aesthetic along with
a more direct and less ambiguous eye/camera usage, although influence from the
first three films is apparent. The final four Paramount Pictures films in the franchise
reveal a repeated attempt at varied experimentation to different narrative purposes,
reflecting the desire to develop a successful formula in the light of declining box
office receipts. This experimentation continued through the first two “Jason” films
released by New Line Cinemas, with Freddy vs. Jason and Friday the 13 th (2009)
being used simultaneously as a utilisation of contemporary generic trends, but also in
a distinctly auteurist fashion. 19
Ultimately, this analysis of the eye/camera in the Friday the 13 th films leads
to a couple of significant points. First, the overall effect of the eye/camera in the
individual films indicates a specific design that often reflects the development of a
cycle of intent and effect, which can be observed through a look at the
developmental continuum of the franchise as a whole. Secondly, the range of
approaches and alternate framing of eye/camera aesthetics solely within this film
series problematises a sociocultural or psychoanalytical generalisation of the device.
In the first instance, an observation of the overall approach to the eye/camera
in each individual film demonstrates a precise progression of development, with A
New Beginning acting as a significant pivotal text. Although I have just used the
term “cycle” to describe the progression of intent, this is not wholly accurate. This
continuum more closely resembles a spiral, where the return or repetition of a
19 As discussed, a comparison of Ronny Yu’s films to Freddy vs. Jason and Marcus Nispel’s films to
Friday the 13 th (2009) reveal similar visual aesthetic trends in camerawork across the films of each
director.