Clayton George Wickham - final thesis

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entering Michael’s back. A moment later the swish pan ends, showing the tent peg
lodged in Michael’s back. However, in this sequence, Jason is shown to throw the
knife in a close up low angle shot of his face, which then cuts to a long shot of Jason
out of focus in the background as the tent peg comes toward the camera from the
middle background swiftly toward the middle lower frame, moving below the frame.
The whooshing sound grows louder based on the distance from the tent peg to the
camera. This cuts to a shot in the middle of the swish pan, so the camera is moving
at the moment the shot begins. During this swish pan, the crunch is heard as the tent
peg enters Michael’s back, the loudest sound on the soundtrack, appearing spatially
close to the hearer, despite the fact that when the camera stops showing the tent peg
in Michael’s back, he is in full shot from behind. The sequence then returns the
camera and sound in close proximity to Jason. Over the course of these two shots,
the visual and the soundtrack indicate Michael’s perspective in order to heighten the
visceral impact on the viewer by not only aligning them with the victim, but by
creating the unexpected and brief shock of changing perspectives, before moving
back to the initial perspective alignment.
Friday the 13 th (2009), while more frequently showing on-screen mutilation,
prioritizes editing in a manner resembling Cort’s death sequence in Jason Lives!.
Because of this, unverified diegetic sound is only used occasionally, and the most
significant aesthetic advance is the continued increase in the number of shots that
comprise death sequences. During Donnie’s death, the moment of the death blow
includes four cuts linking five shots in less than two seconds. One sequence within
Friday the 13 th (2009) that provides a key distinction from the other films in the
franchise is the death of Wade. The sequence cuts between two shot setups: Wade’s
eye/camera as Jason attacks him, and a tracking shot set up in front and to the left of