Clayton George Wickham - final thesis

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278 Grant, B.K. (ed.) (1996) Planks of Reason: Essays on the Horror Film, London, The Scarecrow Press Grove, D. (2005) Making Friday the 13 th : The Legend of Camp Blood, Surrey, Fab Press Guins, R. (2005) “Blood and Black Gloves on Shiny Discs: New Media, Old Tastes, and the Remediation of Italian Horror Films in the United States” in Schneider, S. and T. Williams (eds.), Horror International (2005), Detroit, MI., Wayne State University Press Gunning, T. (2005) “Cinema and its Ancestors: The Magic of Motion” on Research at Chicago, The University of Chicago: http://research.uchicago.edu/highlights/show_transcript.php?id=13 ; accessed 09-12- 2011 Gupta, U. (1978) “The Eyes of Laura Mars” (Review) in Cineaste, Fall 1978, 9, 1 Hall, S. (2002) “Tall Revenue Features: The Genealogy of the Modern Blockbuster” in Neale, S. (ed.) Genre and Contemporary Hollywood (2002), London, BFI Publishing Hantke, S. (ed.) (2004) Horror Film: Creating and Marketing Fear, Jackson, University Press of Mississippi
279 Harman, J. (1960) “Unhealthy” in London Evening News, 7 April 1960 Harries, D. (2002) “Film Parody and the Resuscitation of Genre” in Neale, S. (ed.) Genre and Contemporary Hollywood (2002), London, BFI Publishing Harrington, R. (1988) “Friday the 13 th Part VII: The New Blood” (Review) in The Washington Post, May 14, 1988 Harrington, R. (1989) “Friday the 13 th Part VIII: Jason Takes Manhattan” in The Washington Post, July 29, 1989 Harrington, R. (1993) “Jason Goes to Hell: The Final Friday” in The Washington Post, August 14, 1993 Hawkins, H. (1990) Classics and Trash: Traditions and Taboos in High Literature and Popular Modern Genres, Toronto, University of Toronto Press Hayward, S. (2006) Cinema Studies: The Key Concepts (Third Edition), London, Routledge Heffernan, K. (2004) Ghouls, Gimmicks, and Gold: Horror Films and the American Movie Business, 1953-1968, Durham, NC, Duke University Press
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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
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 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: 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.
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Clayton George Wickham - final thesis

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