Clayton George Wickham - final thesis

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accompanied by a swish sound of the knife cutting through the air, and a wet crunch
the moment it disappears below frame. This is followed by a cut to a shot of the
motorbike’s wheels moving from right to left, the sound of the engine following its
onscreen position and Junior’s head dropping from the top of the frame, with a
crunching sound as his head hits the leaves. The most elaborately structured of these
is Ethel’s death, which starts with a close up of her face, which cuts to her
eye/camera which shows the shattering of the window in front of her by a quickly
moving blurred arm. There is a loud orchestral sting accompanying the sound of the
glass shattering, and there is a cut to the knife’s point of view, demonstrated by the
previous close up shot, Ethel looking at the camera, which snap zooms into an
extreme close up of her eyes as they widen, accompanied by her gasp. This shot
lasts only a moment before cutting back to her eye/camera which shows the butcher
knife stopping just above the frame accompanied by a wet crunching sound, and
blood flowing and dripping from the top of the frame all the way to the bottom. This
then cuts to a shot of her hand spasmodically squeezing a tomato, which is also
indicated by a squishing sound. This is followed by a return to her eye/camera as the
butcher knife is withdrawn with a similar sound to that of its penetrating her head,
and then a cut to her head falling into the pot of stew from the upper left of the frame
into the middle of the frame with a splash. All of these sequences involve camera
positioning and sound to indicate victim perspective, Ethel’s incorporating editing as
well, but uniquely also includes an omniscient visual epilogue. The medium shot of
Tina’s mangled face as Roy walks away, the full shot of Junior’s head dropping after
his decapitation, and the close up just behind Ethel’s right shoulder as her mostly
obscured face falls into the stew all are framed indifferently to the onscreen
characters, and in the cases of Tina and Ethel, appear after the killer has moved on, a