Clayton George Wickham - final thesis

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116 vulnerability, such as the passive eye/camera shots from Jason in Jason X or the eye/camera of Deputy Winslow as he pursues Jason in Friday the 13 th Part 2. Most significantly, though there can be dominant uses of the eye/camera tending towards either power or vulnerability for any given film, these positions can alternate not only within a film, but at times within a sequence, as occurs in The New Blood. The examples from the Friday the 13 th series demonstrate both a cohesive aesthetic continuum as well as the variety provided within films with a wide range of writers and directors, reflecting theories of pleasure through repetition that genre viewing provides that were discussed in Chapter 2, including work by Grant, Buscombe and Neale. Dika accurately describes this tendency in her writing about Friday the 13 th as a model for recombining generic elements to a successful end: (The) overall tendency in Friday the 13 th Part 2 toward the replication of material while supplying a suitable level of variation serves two purposes for the film-viewing audience. It facilitates the film’s game by supplying the known ground rules, while the innovations supply the film’s interest and shocks. This technique allows the viewer to feel secure in his knowledge of the formula, distanced by the formulaic predictability of the events, while nonetheless excited by the surprises and variations. (84) The evolution of the eye/camera within the Friday the 13 th films is exemplary of this statement. With the eye/camera established as a generic convention on the release of Friday the 13 th , the sequels include it as a staple of the genre while altering how the eye/camera is framed, contextualised and used over the course of the franchise. The
117 eye/camera, however, is only one aspect of the entire visual design of these films, and the image is only one element of the aesthetics of each film.
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Bearing Witness to a Whole Bunch of
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ii Table of Contents Acknowledgemen
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iv Acknowledgements Without the fol
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vi The Friday the 13 th Film Series
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viii the assumption that the text d
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x Argument Friday the 13 th is an e
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xii 3 - The Friday the 13 th series
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xiv process which includes a craft
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xvi influence other film texts, but
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xviii not only address the film tex
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xx time between the latter films is
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xxii between people who then attemp
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xxiv The first device to be discuss
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xxvi shifts between characters with
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Introduction Part 2: The Historical
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xxx Massacre (1974; dir. Hooper) al
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xxxii the increased investments in
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xxxiv Chainsaw Massacre 2 (1986; di
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xxxvi added novelty of displacing J
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xxxviii the Friday the 13 th franch
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xl points of contact with Jason Goe
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xlii vengeance. The sequel, release
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xliv Scream, which overtly addresse
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xlvi updated generic formula to it.
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xlviii (2009; dir. Zombie), and the
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l sequences of Saw, where Adam and
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1 Chapter 1: Perspective Imagine th
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3 of Eyes Wide Shut, it does not ad
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5 The Hidden Fortress (1958; DVD re
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7 dizziness, of madness, of suspens
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9 the landscape becomes more colour
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11 response from a spectator - fear
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13 Haunted (2011), in which the nar
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15 depending on who is experiencing
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17 Driver, all of the graphic viole
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19 films can be used. The Slumber P
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21 sense of swift unexpected moveme
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23 Chapter 2: The Eye/Camera Define
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25 Overall, the eye/camera contains
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27 As voyeurism is itself the pleas
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29 task of exploring and revealing
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31 through use of the eye/camera, w
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33 satisfactorily address the aesth
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35 negativity becomes more complica
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37 ...this horror formula is best i
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39 particularly concerning editing.
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41 viewer into the first person, I
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43 In films such as The Wolf Man (1
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45 shot. This use of perspective is
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47 stylistically straightforward ap
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49 language) is inescapably literal
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51 to give precise spatial relation
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53 escape the threat. Occasionally
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55 knife. We (the viewer/the child/
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57 perspective established in the f
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59 Aside from the case of A Nightma
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61 giallo-influenced slasher films
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63 the people watching the monitor
Page 117 and 118: 65 captured is that of a turtle kil
Page 119 and 120: 67 Kingdom, largely because of the
Page 121 and 122: 69 recognised as a risk-all masterp
Page 123 and 124: 71 being watched. The perpetrator-c
Page 125 and 126: 73 takes, and the large number of e
Page 127 and 128: 75 I loved the original Halloween.
Page 129 and 130: 77 eye/camera, to create a final su
Page 131 and 132: 79 Cunningham: “Working on a limi
Page 133 and 134: 81 directly involves the viewer wit
Page 135 and 136: 83 Direct Eye/Camera Although Cunni
Page 137 and 138: 85 Vice President of distribution a
Page 139 and 140: 87 the viewer and a mouse walking o
Page 141 and 142: 89 shot functions to clearly establ
Page 143 and 144: 91 As she does so, we see her eye/c
Page 145 and 146: 93 narrative structure of the film
Page 147 and 148: 95 driver’s seat. The spectator s
Page 149 and 150: 97 cognitive thought, and moves out
Page 151 and 152: 99 A shot is shown of Jason’s hoc
Page 153 and 154: 101 eye/camera shots and objective
Page 155 and 156: 103 death sequence in Friday the 13
Page 157 and 158: 105 frequency, it can be deduced th
Page 159 and 160: 107 shots, the viewer witnesses a s
Page 161 and 162: 109 camera. We then see through the
Page 163 and 164: 111 Developing Effects of the Eye/C
Page 165 and 166: 113 perspective experience, and ult
Page 167: 115 tendency of a previous group of
Page 171 and 172: 119 and pushed beyond the limits of
Page 173 and 174: 121 diegetic in nature, with an uns
Page 175 and 176: 123 demonstrate that not only does
Page 177 and 178: 125 clearly onto the perceptual scr
Page 179 and 180: 127 this use of sound design in a m
Page 181 and 182: 129 front of her body without touch
Page 183 and 184: 131 flows onto his throat and chest
Page 185 and 186: 133 downward grazing the hanging li
Page 187 and 188: 135 to Alice’s perspective during
Page 189 and 190: 137 The sounds indicating the stabb
Page 191 and 192: 139 Friday the 13 th Part 2 only co
Page 193 and 194: 141 one simple way to give an impre
Page 195 and 196: 143 explicitly showing it. The firs
Page 197 and 198: 145 moving from the left of the fra
Page 199 and 200: 147 Wade following him as he backs
Page 201 and 202: 149 for about four seconds, before
Page 203 and 204: 151 toward open windows and doors,
Page 205 and 206: 153 shard of broken mirror above hi
Page 207 and 208: 155 demonstrate an advance in depic
Page 209 and 210: 157 disappears below the frame, a j
Page 211 and 212: 159 accompanied by a swish sound of
Page 213 and 214: 161 Robin’s death sequence contai
Page 215 and 216: 163 While this chapter has placed f
Page 217 and 218: 165 sequences from the perspective
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167 steeped within genre theory. Ho
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169 ‘sequel’ - or, if you like,
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171 Nerve was not just a prototype
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173 some of the same characters (in
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175 previously introduced to Alice
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177 another, with a certain amount
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179 narrative, although it is appar
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181 returning the screen to black.
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183 shooting new footage that can b
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185 teenager in the area, and every
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187 The only elements of the inform
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189 After this, while a familiarity
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191 inside the eye hole can be seen
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193 attain a familiarity with the F
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195 is a cut to the logo on the out
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197 seeing Jason’s corpse will no
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199 hacking at Jason with a machete
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201 Despite the indication provided
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203 The word ‘remake’ is, howev
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205 share more in common with those
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207 cinematic experiences. This ind
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209 specific response in the viewer
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211 Beginning also represent the po
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213 Secondly, this tendency to resp
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215 is a series of patterns, lines
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217 book. Bordwell, however, takes
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219 at least as important as style,
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221 friction between Žižek and th
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223 opposition to the method, writi
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225 seventies films respond to the
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227 In his book Authorship and the
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229 implications for the way mainst
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231 Appendix 1 Plot Summaries for t
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233 what happens to Alice at the en
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235 Friday the 13 th Part VII: The
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237 Jason X (2001; dir. Isaac) Igno
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239 was kidnapped and being kept pr
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241 Marcie Cunningham: Girlfriend
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243 Terry: Attractive and sporty f
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245 Loco: Shorter male gang member
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247 Terri: One of the two identica
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249 Pam Roberts: The “Final Girl
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251 Jason Lives! Friday the 13 th P
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253 Friday the 13 th Part VII: The
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255 Friday the 13 th Part VIII: Jas
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257 Jason Goes to Hell: The Final F
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259 danger, goes to great lengths t
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261 He is potentially killed when h
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263 Freddy vs. Jason Bill Freeburg
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265 Friday the 13 th (2009) Amanda
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267 Works Cited - Text and Online A
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269 Booth, S. (1990) “The Functio
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271 Bradley, D. (1996) Sacred Monst
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273 Christie, I. (1994) Arrows of D
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275 Dika, V. (1990) Games of Terror
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277 Frampton, D. (2006) Filmosophy,
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279 Harman, J. (1960) “Unhealthy
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281 James, H. (1898) The Turn of th
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283 Kolker, R. (2006) Film, Form an
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285 McLarty, L. (1998) “‘I’ll
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287 Neale, S. (2000) Genre and Holl
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289 Prince, S. (ed.) (2004) The Hor
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291 Schrader, P. (1979) “Paul Sch
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293 Time Out London- Film Reviews-
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295 Variety Staff (1980) “Friday
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297 Wierzbicki, J. (2011) “Lost i
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299 Žižek, S. (2013) “Zero Dark
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301 Works Cited - Films Ali. Dir. M
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303 Corporation / Davis Entertainme
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305 Bride of Chucky. Dir. Ronny Yu,
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307 Chinatown. Dir. Roman Polanski,
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309 Deep Red (Profondo Rosso). Dir.
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311 Evil Dead, The. Dir. Sam Raimi,
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313 Cunningham Films / WTC Producti
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315 Friday The 13 th Part VIII: Jas
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317 Halloween H20: 20 Years Later.
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319 Main Cast: Michael Rooker (Henr
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321 House. Dir. Steve Miner, Prod.
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323 Jason X. Dir. James Isaac, Prod
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325 Man Who Knew Too Much, The. Dir
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327 Langenkamp (Herself/Nancy Thomp
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329 Notorious. Dir. Alfred Hitchcoc
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331 Predator 2. Dir. Stephen Hopkin
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333 / LivePlanet, 2001, USA. Main C
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335 Scream 2. Dir. Wes Craven, Prod
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337 Sunset Boulevard. Dir. Billy Wi
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339 Pictures / Return Productions /
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341 Stark/Trevor Stark), Hart Bochn
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343 Consortium, 2001, UK / Canada.
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Clayton George Wickham - final thesis

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