Clayton George Wickham - final thesis

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206 twenty five years before the film, but we see Wade listening to the song on an mp3 player, which creates a vague tension, and aids the reading of Friday the 13 th (2009) as a late 2000s nostalgic film text. This then leads to alternate readings by the new viewer and the franchise viewer. The franchise viewer has the opportunity to view the opening sequence as a reminder of Jason’s background, immediately making a connection with the previous films, not allowing him/her to break from franchise familiarity. The new viewer, however, is presented with a brief background to understand why Jason kills during the opening credits, so that the foregoing narrative and the character of Jason does not seem motive-less. Both the new and the franchise viewer, however, have the tools to make this association with the nostalgia aesthetics of Friday the 13 th (2009). While the franchise viewer, with the introduction, has an immediate reference for connection to the earlier period through Friday the 13 th . The new viewer, based on his/her familiarity with films from the early 1980s, has the ability to link cinematographic and fashion elements to a period thirty years previous to the making of the film. Through the Friday the 13 th film series, the aesthetic design of the films, particularly the opening sequences, can be shown to either reward or inhibit the viewing experience based on the specific perspective of the viewer. The serialisation of the franchise appropriates an increasingly selective segment of the mythos/backstory, and how this segment is presented in each film provides distinct advantages and disadvantages for viewers based on their previous awareness and knowledge of the earlier films. The varying techniques of establishing previous character development and narrative and its relationship to the further narrative of a sequelized film can create different readings based on the viewer’s previous
207 cinematic experiences. This indicates the central significance of aesthetic and formal design in the inclusion of the viewer within an ongoing serial narrative, and how they are positioned relative to the text. Reading and understanding therefore become subject to the film’s form when garnering narrative meaning.
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Bearing Witness to a Whole Bunch of
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ii Table of Contents Acknowledgemen
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iv Acknowledgements Without the fol
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vi The Friday the 13 th Film Series
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viii the assumption that the text d
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x Argument Friday the 13 th is an e
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xii 3 - The Friday the 13 th series
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xiv process which includes a craft
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xvi influence other film texts, but
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xviii not only address the film tex
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xx time between the latter films is
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xxii between people who then attemp
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xxiv The first device to be discuss
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xxvi shifts between characters with
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Introduction Part 2: The Historical
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xxx Massacre (1974; dir. Hooper) al
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xxxii the increased investments in
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xxxiv Chainsaw Massacre 2 (1986; di
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xxxvi added novelty of displacing J
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xxxviii the Friday the 13 th franch
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xl points of contact with Jason Goe
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xlii vengeance. The sequel, release
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xliv Scream, which overtly addresse
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xlvi updated generic formula to it.
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xlviii (2009; dir. Zombie), and the
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l sequences of Saw, where Adam and
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1 Chapter 1: Perspective Imagine th
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3 of Eyes Wide Shut, it does not ad
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5 The Hidden Fortress (1958; DVD re
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7 dizziness, of madness, of suspens
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9 the landscape becomes more colour
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11 response from a spectator - fear
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13 Haunted (2011), in which the nar
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15 depending on who is experiencing
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17 Driver, all of the graphic viole
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19 films can be used. The Slumber P
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21 sense of swift unexpected moveme
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23 Chapter 2: The Eye/Camera Define
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25 Overall, the eye/camera contains
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27 As voyeurism is itself the pleas
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29 task of exploring and revealing
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31 through use of the eye/camera, w
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33 satisfactorily address the aesth
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35 negativity becomes more complica
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37 ...this horror formula is best i
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39 particularly concerning editing.
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41 viewer into the first person, I
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43 In films such as The Wolf Man (1
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45 shot. This use of perspective is
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47 stylistically straightforward ap
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49 language) is inescapably literal
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51 to give precise spatial relation
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53 escape the threat. Occasionally
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55 knife. We (the viewer/the child/
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57 perspective established in the f
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59 Aside from the case of A Nightma
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61 giallo-influenced slasher films
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63 the people watching the monitor
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65 captured is that of a turtle kil
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67 Kingdom, largely because of the
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69 recognised as a risk-all masterp
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71 being watched. The perpetrator-c
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73 takes, and the large number of e
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75 I loved the original Halloween.
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77 eye/camera, to create a final su
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79 Cunningham: “Working on a limi
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81 directly involves the viewer wit
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83 Direct Eye/Camera Although Cunni
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85 Vice President of distribution a
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87 the viewer and a mouse walking o
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89 shot functions to clearly establ
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91 As she does so, we see her eye/c
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93 narrative structure of the film
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95 driver’s seat. The spectator s
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97 cognitive thought, and moves out
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99 A shot is shown of Jason’s hoc
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101 eye/camera shots and objective
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103 death sequence in Friday the 13
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105 frequency, it can be deduced th
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107 shots, the viewer witnesses a s
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109 camera. We then see through the
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111 Developing Effects of the Eye/C
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113 perspective experience, and ult
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115 tendency of a previous group of
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117 eye/camera, however, is only on
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119 and pushed beyond the limits of
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121 diegetic in nature, with an uns
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123 demonstrate that not only does
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125 clearly onto the perceptual scr
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127 this use of sound design in a m
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129 front of her body without touch
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131 flows onto his throat and chest
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133 downward grazing the hanging li
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135 to Alice’s perspective during
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137 The sounds indicating the stabb
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139 Friday the 13 th Part 2 only co
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141 one simple way to give an impre
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143 explicitly showing it. The firs
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145 moving from the left of the fra
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147 Wade following him as he backs
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149 for about four seconds, before
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151 toward open windows and doors,
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153 shard of broken mirror above hi
Page 207 and 208: 155 demonstrate an advance in depic
Page 209 and 210: 157 disappears below the frame, a j
Page 211 and 212: 159 accompanied by a swish sound of
Page 213 and 214: 161 Robin’s death sequence contai
Page 215 and 216: 163 While this chapter has placed f
Page 217 and 218: 165 sequences from the perspective
Page 219 and 220: 167 steeped within genre theory. Ho
Page 221 and 222: 169 ‘sequel’ - or, if you like,
Page 223 and 224: 171 Nerve was not just a prototype
Page 225 and 226: 173 some of the same characters (in
Page 227 and 228: 175 previously introduced to Alice
Page 229 and 230: 177 another, with a certain amount
Page 231 and 232: 179 narrative, although it is appar
Page 233 and 234: 181 returning the screen to black.
Page 235 and 236: 183 shooting new footage that can b
Page 237 and 238: 185 teenager in the area, and every
Page 239 and 240: 187 The only elements of the inform
Page 241 and 242: 189 After this, while a familiarity
Page 243 and 244: 191 inside the eye hole can be seen
Page 245 and 246: 193 attain a familiarity with the F
Page 247 and 248: 195 is a cut to the logo on the out
Page 249 and 250: 197 seeing Jason’s corpse will no
Page 251 and 252: 199 hacking at Jason with a machete
Page 253 and 254: 201 Despite the indication provided
Page 255 and 256: 203 The word ‘remake’ is, howev
Page 257: 205 share more in common with those
Page 261 and 262: 209 specific response in the viewer
Page 263 and 264: 211 Beginning also represent the po
Page 265 and 266: 213 Secondly, this tendency to resp
Page 267 and 268: 215 is a series of patterns, lines
Page 269 and 270: 217 book. Bordwell, however, takes
Page 271 and 272: 219 at least as important as style,
Page 273 and 274: 221 friction between Žižek and th
Page 275 and 276: 223 opposition to the method, writi
Page 277 and 278: 225 seventies films respond to the
Page 279 and 280: 227 In his book Authorship and the
Page 281 and 282: 229 implications for the way mainst
Page 283 and 284: 231 Appendix 1 Plot Summaries for t
Page 285 and 286: 233 what happens to Alice at the en
Page 287 and 288: 235 Friday the 13 th Part VII: The
Page 289 and 290: 237 Jason X (2001; dir. Isaac) Igno
Page 291 and 292: 239 was kidnapped and being kept pr
Page 293 and 294: 241 Marcie Cunningham: Girlfriend
Page 295 and 296: 243 Terry: Attractive and sporty f
Page 297 and 298: 245 Loco: Shorter male gang member
Page 299 and 300: 247 Terri: One of the two identica
Page 301 and 302: 249 Pam Roberts: The “Final Girl
Page 303 and 304: 251 Jason Lives! Friday the 13 th P
Page 305 and 306: 253 Friday the 13 th Part VII: The
Page 307 and 308: 255 Friday the 13 th Part VIII: Jas
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257 Jason Goes to Hell: The Final F
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259 danger, goes to great lengths t
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261 He is potentially killed when h
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263 Freddy vs. Jason Bill Freeburg
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265 Friday the 13 th (2009) Amanda
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267 Works Cited - Text and Online A
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269 Booth, S. (1990) “The Functio
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271 Bradley, D. (1996) Sacred Monst
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273 Christie, I. (1994) Arrows of D
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275 Dika, V. (1990) Games of Terror
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277 Frampton, D. (2006) Filmosophy,
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279 Harman, J. (1960) “Unhealthy
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281 James, H. (1898) The Turn of th
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283 Kolker, R. (2006) Film, Form an
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285 McLarty, L. (1998) “‘I’ll
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287 Neale, S. (2000) Genre and Holl
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289 Prince, S. (ed.) (2004) The Hor
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291 Schrader, P. (1979) “Paul Sch
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293 Time Out London- Film Reviews-
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295 Variety Staff (1980) “Friday
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297 Wierzbicki, J. (2011) “Lost i
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299 Žižek, S. (2013) “Zero Dark
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301 Works Cited - Films Ali. Dir. M
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303 Corporation / Davis Entertainme
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305 Bride of Chucky. Dir. Ronny Yu,
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307 Chinatown. Dir. Roman Polanski,
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309 Deep Red (Profondo Rosso). Dir.
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311 Evil Dead, The. Dir. Sam Raimi,
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313 Cunningham Films / WTC Producti
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315 Friday The 13 th Part VIII: Jas
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317 Halloween H20: 20 Years Later.
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319 Main Cast: Michael Rooker (Henr
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321 House. Dir. Steve Miner, Prod.
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323 Jason X. Dir. James Isaac, Prod
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325 Man Who Knew Too Much, The. Dir
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327 Langenkamp (Herself/Nancy Thomp
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329 Notorious. Dir. Alfred Hitchcoc
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331 Predator 2. Dir. Stephen Hopkin
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333 / LivePlanet, 2001, USA. Main C
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335 Scream 2. Dir. Wes Craven, Prod
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337 Sunset Boulevard. Dir. Billy Wi
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339 Pictures / Return Productions /
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341 Stark/Trevor Stark), Hart Bochn
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343 Consortium, 2001, UK / Canada.
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Clayton George Wickham - final thesis

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