Clayton George Wickham - final thesis

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262 Waylander: A student with an aptitude for engineering. He is killed when he blows up a section of the Grendel containing both himself and Jason. Dr. Wimmer: Scientist at Crystal Lake Research Facility who undermines Rowan’s authority and is determined to study Jason’s regenerative abilities. He is stabbed in the back with a pole.
263 Freddy vs. Jason Bill Freeburg “Freeburg”: A student at the local school who enjoys smoking marijuana. He becomes possessed by Freddy, and is cut in half with a machete. Blake: Friend of Trey who is intended to be a blind date for Lori. He is killed with a machete. Dr. Campbell: Father of Lori who originally had Will committed, and might have killed his wife. He survives. Charlie Linderman “Linderman”: Socially awkward and bookish, he is the eventual romantic interest of Kia. He is killed by being thrown into a sharp metal wall fixture. Freddy Krueger: A child killer who attacks people in their dreams, but needs belief, fear and memory to make him strong. He resurrects Jason to kill for him until his own strength comes back, but is forced to fight Jason, when he proves to be Freddy’s competition in killing. He is decapitated by Jason, but survives. Gibb: Friend of Lori and Kia and girlfriend of Trey who frequently drinks and smokes. She is impaled with a pipe by Jason. Jason: Resurrected by Freddy using the memory of his mother, and is forced into a fight with Freddy. He survives. Kia Waterson: Close friend of Lori, and eventual romantic interest of Linderman. She is stabbed with a machete and thrown into a tree. Lori Campbell: The “Final Girl”. Believing her boyfriend, Will, had left her, she later discovers he was institutionalised. Lori is the first person to have nightmares about Freddy, and survives, along with Will.
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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
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201 Despite the indication provided
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203 The word ‘remake’ is, howev
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205 share more in common with those
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207 cinematic experiences. This ind
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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
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: 261 He is potentially killed when h
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
Page 355 and 356: 303 Corporation / Davis Entertainme
Page 357 and 358: 305 Bride of Chucky. Dir. Ronny Yu,
Page 359 and 360: 307 Chinatown. Dir. Roman Polanski,
Page 361 and 362: 309 Deep Red (Profondo Rosso). Dir.
Page 363 and 364: 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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