Clayton George Wickham - final thesis

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342 Wolf Creek. Dir. Greg Mclean, Prod. David Lightfoot / Greg Mclean, Prod. Co. The FFC Australian/Film Finance Corporation / The South Australian Film Corporation / 403 Productions / True Crime Channel, 2005, Australia. Main Cast: John Jarratt (Mick Taylor), Cassandra Magrath (Liz Hunter), Kestie Morassi (Kristy Earl), Nathan Phillips (Ben Mitchell). Wolf Man, The. Dir. <strong>George</strong> Waggner, Prod. <strong>George</strong> Waggner, Prod. Co. Universal Pictures Company Inc., 1941, USA. Main Cast: Lon Chaney (The Wolf Man), Claude Rains (Sir. John Talbot), Ralph Bellamy (Col. Montford), Warren William (Dr. Lloyd). Wolfen. Dir. Michael Wadleigh, Prod. Rupert Hitzig, Prod. Co. Orion Pictures Corporation / King-Hitzig Productions, 1981, USA. Main Cast: Albert Finney (Dewey Wilson), Diane Venora (Rebecca Neff), Edward James Olmos (Eddie Holt), Gregory Hines (Whittington). You Only Live Once. Dir. Fritz Lang, Prod. None credited, Prod. Co. Walter Wagner Productions, 1937, USA. Main Cast: Sylvia Sidney (Joan Graham), Henry Fonda (Eddie Taylor), Barton MacLane (Stephen Whitney), Jean Dixon (Bonnie Graham). 51 st State, The (Formula 51), Dir. Ronny Yu, Prod. Jonathan Debin / Andras Hamori / Malcolm Kohll / Seaton Mclean / David Pupkewitz, Prod. Co. Alliance Atlantis / Focus Films / Fifty First Films / National Lottery / Artists Production Group / Canadian Film or Video Production Tax Credit / Film Council / The Film
343 Consortium, 2001, UK / Canada. Main Cast: Samuel L. Jackson (Elmo McElroy), Emily Mortimer (Dakota Parker), Meat Loaf (The Lizard), Robert Carlyle (Felix DeSouza). 8 ½. Dir. Federico Fellini, Prod. Angelo Rizzoli, Prod. Co. Cineriz / Francinex, 1963, Italy / France. Main Cast: Marcello Mastroianni (Guido Anselmi), Claudia Cardinale (Claudia), Anouk Aimee (Luisa Anselmi), Sandra Milo (Carla). 400 Blows, The (Les Quatre Cents Coups). Dir. François Truffaut, Prod. None credited, Prod. Co. Les Films du Carrosse / Sédif Productions, 1959, France. Main Cast: Jean-Pierre Léaud (Antoine Doinel), Claire Maurier (Gilberte Doinel-le mere d’Antoine), Albert Rémy (Julien Doinel), Guy Decomble (“Petite Feuille”, the French teacher).
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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
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227 In his book Authorship and the
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229 implications for the way mainst
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231 Appendix 1 Plot Summaries for t
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233 what happens to Alice at the en
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235 Friday the 13 th Part VII: The
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237 Jason X (2001; dir. Isaac) Igno
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239 was kidnapped and being kept pr
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241 Marcie Cunningham: Girlfriend
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243 Terry: Attractive and sporty f
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245 Loco: Shorter male gang member
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247 Terri: One of the two identica
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249 Pam Roberts: The “Final Girl
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251 Jason Lives! Friday the 13 th P
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253 Friday the 13 th Part VII: The
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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
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
Page 381 and 382: 329 Notorious. Dir. Alfred Hitchcoc
Page 383 and 384: 331 Predator 2. Dir. Stephen Hopkin
Page 385 and 386: 333 / LivePlanet, 2001, USA. Main C
Page 387 and 388: 335 Scream 2. Dir. Wes Craven, Prod
Page 389 and 390: 337 Sunset Boulevard. Dir. Billy Wi
Page 391 and 392: 339 Pictures / Return Productions /
Page 393: 341 Stark/Trevor Stark), Hart Bochn
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Clayton George Wickham - final thesis

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