Clayton George Wickham - final thesis

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252 Sissy: Female camp counsellor who creates a card game called “Camp Blood”. She is killed by having her head twisted off. Stan: Obnoxious, mouthy male paintball-playing business executive who is decapitated simultaneously with Larry and Katie. Officer Thornton: Works for Sherriff Garris. Jason kills him by throwing a knife at his head. Tommy Jarvis: Escapes from the mental institution to make sure Jason is dead, and inadvertently resurrects him. He survives, having defeated Jason by sinking him to the bottom of Crystal Lake.
253 Friday the 13 th Part VII: The New Blood Amanda Shepard: Tina’s mother. She has hired Dr. Crews and believes his false reports to her regarding Tina’s progress. She is stabbed in the back by Jason. Ben: Party attendee and boyfriend of Kate. Jason crushes his head. Dr. Crews: An opportunistic doctor who, under the guise of trying to help Tina, tries to research her telekinetic abilities for his own professional benefit. Jason kills him using an electric saw. Dan: Male camper, boyfriend of Judy. Jason shoves his hand through Dan’s back and then snaps Dan’s neck. David: Attractive male partygoer who enjoys drinking and smoking marijuana. He is killed with a large kitchen knife after having sex with Robin. Eddie: Writer of science fiction stories, party attendee, and romantically interested in Melissa. He is killed with a machete off screen. Jane: Girlfriend of Michael who organised his birthday party. She is killed with a tent spike through her neck. Jason: Brought back to life by Tina, he begins to kill the locals. He is subdued by being pulled underwater by the resurrected John Shepard. John Shepard: Tina’s father, who drowned in Crystal Lake when Tina, as a young girl, telekinetically collapses the pier on which he was standing. In the end, he returns and drags Jason back into the lake. Judy: Female camper, girlfriend of Dan. Jason picks her up in her sleeping bag and swings her into a tree.
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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
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155 demonstrate an advance in depic
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157 disappears below the frame, a j
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159 accompanied by a swish sound of
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161 Robin’s death sequence contai
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163 While this chapter has placed f
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165 sequences from the perspective
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167 steeped within genre theory. Ho
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169 ‘sequel’ - or, if you like,
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171 Nerve was not just a prototype
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173 some of the same characters (in
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175 previously introduced to Alice
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177 another, with a certain amount
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179 narrative, although it is appar
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181 returning the screen to black.
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183 shooting new footage that can b
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185 teenager in the area, and every
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187 The only elements of the inform
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189 After this, while a familiarity
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191 inside the eye hole can be seen
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193 attain a familiarity with the F
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195 is a cut to the logo on the out
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197 seeing Jason’s corpse will no
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199 hacking at Jason with a machete
Page 253 and 254: 201 Despite the indication provided
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Page 257 and 258: 205 share more in common with those
Page 259 and 260: 207 cinematic experiences. This ind
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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: 251 Jason Lives! Friday the 13 th P
Page 307 and 308: 255 Friday the 13 th Part VIII: Jas
Page 309 and 310: 257 Jason Goes to Hell: The Final F
Page 311 and 312: 259 danger, goes to great lengths t
Page 313 and 314: 261 He is potentially killed when h
Page 315 and 316: 263 Freddy vs. Jason Bill Freeburg
Page 317 and 318: 265 Friday the 13 th (2009) Amanda
Page 319 and 320: 267 Works Cited - Text and Online A
Page 321 and 322: 269 Booth, S. (1990) “The Functio
Page 323 and 324: 271 Bradley, D. (1996) Sacred Monst
Page 325 and 326: 273 Christie, I. (1994) Arrows of D
Page 327 and 328: 275 Dika, V. (1990) Games of Terror
Page 329 and 330: 277 Frampton, D. (2006) Filmosophy,
Page 331 and 332: 279 Harman, J. (1960) “Unhealthy
Page 333 and 334: 281 James, H. (1898) The Turn of th
Page 335 and 336: 283 Kolker, R. (2006) Film, Form an
Page 337 and 338: 285 McLarty, L. (1998) “‘I’ll
Page 339 and 340: 287 Neale, S. (2000) Genre and Holl
Page 341 and 342: 289 Prince, S. (ed.) (2004) The Hor
Page 343 and 344: 291 Schrader, P. (1979) “Paul Sch
Page 345 and 346: 293 Time Out London- Film Reviews-
Page 347 and 348: 295 Variety Staff (1980) “Friday
Page 349 and 350: 297 Wierzbicki, J. (2011) “Lost i
Page 351 and 352: 299 Žižek, S. (2013) “Zero Dark
Page 353 and 354: 301 Works Cited - Films Ali. Dir. M
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303 Corporation / Davis Entertainme
Page 357 and 358:
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 /
Page 393 and 394:
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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