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Clayton George Wickham - final thesis

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narrative, although it is apparent that there is a significant amount of information that<br />

has been missed. Franchise viewers, however, may recognize characters and events,<br />

but will be drawn into the franchise experience more by the crime scene sequence,<br />

which creates a reminder of setting and precise positioning, particularly where the<br />

body of Jason is concerned, despite being played by a different actor, and this<br />

sequence being shot after the completion of the previous film, Jason’s dead body<br />

lays in precisely the same position as it did at the end of Friday the 13 th Part III 3-D.<br />

Again, the perspective of the franchise viewer is rewarded by having seen the<br />

previous films, while the new viewer is placed in a disorienting position until the<br />

narrative pacing demonstrates a fluidity and aesthetic equilibrium absent from the<br />

pre-credits clip sequence.<br />

The New Blood returns to the use of film clips in order to establish the prior<br />

narrative of the series. The clip sequences used in Friday the 13 th Part 2 and The<br />

Final Chapter, as noted, retain close similarities to the aesthetics of cinema trailers,<br />

and the opening of The New Blood more closely adopts this aesthetic than either of<br />

these previous films. After the production titles, there is a long high angle shot of a<br />

graveyard seen through a thick sheet of rain, the camera lowering as if on a crane.<br />

This is a shot filmed for The New Blood, and is used as a repeated visual to tie the<br />

film clips together. At this point, a voice over accompanies the image, saying<br />

“There’s a legend ‘round here. A killer buried, but not dead.” It is a deep male<br />

voice, and slightly gravelly. The latter of the two sentences runs over a cut to a clip<br />

of Jason’s hand holding a machete as he walks through the woods, and then breaking<br />

through a window to grab Tommy in The Final Chapter. The film then cuts back to<br />

the lowering crane shot of the graveyard, the spikes of a high iron fence rising up<br />

from the bottom of the frame. The voice over accompanies this shot again, saying,

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