Clayton George Wickham - final thesis

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moving from the left of the frame to the right and entering Cort’s temple. This shot,
however, is only six frames long, and would only appear on screen for 1/4 of a
second, the actual penetration only shown in two of those frames, before cutting to a
close up of Jason. There is a crunching sound that accompanies this visual
penetration, but due to the brevity of its onscreen exhibition, its visual impact is
imperceptible. Instead, the impact of the sequence hinges on the editing cuts and the
sound used to indicate the stabbing, which appears to occur at the same time as the
cut to the final shot, although it begins simultaneously with its visual counterpart,
and drowns out the loud music, making it the focal point of the soundtrack for that
moment. Usage of these elements in this way not only contribute to the experiential
alignment with Cort’s perspective, but also render the visual of penetration
subordinate to the manner in which the sound and editing communicate the event.
The attack on Michael in The New Blood is the only sequence which
distinctly uses unverified diegetic sound and editing to create perspective in an
unusual way. As Jason follows him through the woods, the score is loud with the
instruments each creating their own steady pulse. The shots cut between Jason’s
eye/camera following Michael through the forest, and a low angle shot of Jason
pursuing Michael. The sounds alternate between what is being shown onscreen: in
Jason’s eye/camera the crunching of leaves in time with Michael’s footfalls can be
heard at a distance, and in the low angle shots of Jason, his footfalls can be heard
instead in close proximity along with the jingling of the chains around his neck.
These shots and sounds all indicate a close alignment with Jason’s perspective.
Jason’s attack uses a technique that has been used in the previous film, as well as
others in the series. Jason, in one shot, throws a tent peg, and there is a swish pan,
during which time there is a whooshing sound followed by the sound of the tent peg