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Clayton George Wickham - final thesis

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sequences from the perspective of the new viewer: the viewer who is screening the<br />

individual instalment as his or her introduction to the Friday the 13 th series. While<br />

there are greater and subtler divisions of viewers, these are two polarities that can<br />

most clearly elucidate the significance of individual perspective on viewing a film<br />

within the franchise. This approach will be used in order to demonstrate how the<br />

films aesthetically dictate and define the perspective of the viewer in relation to the<br />

film text, how this affects understanding of the individual film narratives, and to<br />

pinpoint the evolving devices used to inform this viewer/text relationship.<br />

Jason Mittell writes of the ways in which serialised television narratives play<br />

with memory when relating information from previous narrative strands. Mittell<br />

argues that “complex serials strategically trigger, confound, and play with viewers’<br />

memories, considering how television storytelling strategies fit with our<br />

understanding of the cognitive mechanics of memory...” (2009; n.p.) Following this,<br />

Mittell, as I intend to do here, identifies different ways in which series address and<br />

adjust elements of the overarching narrative in order to make a connection for<br />

individual instalments. In his conclusion, he justifies his method: “The significance<br />

of this poetic catalog of techniques is to highlight the importance of underlying<br />

cognitive processes in the seemingly simple act of narrative comprehension.”<br />

The main focus of this chapter is to show the relationship between different<br />

kinds of viewers and the narratives of the films placed within the context of<br />

serialisation, and how this is facilitated aesthetically, however, it should be noted<br />

that such texts are rarely experienced in a cultural vacuum. Familiarity with the<br />

slasher sub-genre, particularly beginning in the mid-1980s, based on the financial<br />

success of the films as well as merchandising relating to the franchise, was<br />

widespread. Ian Conrich has addressed these elements of marketing in his writing on

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