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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
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211 Beginning also represent the po
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213 Secondly, this tendency to resp
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215 is a series of patterns, lines
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217 book. Bordwell, however, takes
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219 at least as important as style,
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221 friction between Žižek and th
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223 opposition to the method, writi
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225 seventies films respond to the
- Page 279 and 280: 227 In his book Authorship and the
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- Page 287 and 288: 235 Friday the 13 th Part VII: The
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- 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
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- 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: 277 Frampton, D. (2006) Filmosophy,
- 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,
- Page 365 and 366: 313 Cunningham Films / WTC Producti
- Page 367 and 368: 315 Friday The 13 th Part VIII: Jas
- Page 369 and 370: 317 Halloween H20: 20 Years Later.
- Page 371 and 372: 319 Main Cast: Michael Rooker (Henr
- Page 373 and 374: 321 House. Dir. Steve Miner, Prod.
- Page 375 and 376: 323 Jason X. Dir. James Isaac, Prod
- Page 377 and 378: 325 Man Who Knew Too Much, The. Dir
- Page 379 and 380: 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.