The sequel to the 2004 slasher film Saw, Saw II continues the narrative of 'Jigsaw', the killer whose complex and sadistic traps 'test' his victims. This film also reveals his apprentice, Amanda.
Saw
( dir. James Wan
)
United States of America (USA)
:
2004
Z1778687
2004
single work
film/TV
horror
(taught in 1 units)
The first film in the Saw franchise, Saw introduces 'Jigsaw', a killer whose complex and sadistic traps are designed to 'test' his victims.
Saw III
( dir. Darren Lynn Bousman
)
United States of America (USA)
:
Twisted Pictures
,
2006
Z1872351
2006
single work
film/TV
horror
The third film in the Saw franchise, Saw III shows 'Jigsaw' growing increasingly weak from his incurable cancer, and his apprentice starting to add her own twist to the games that they force their victims to endure.
'Horror film sequels have not received as much serious critical attention as they deserve this is especially true of the Saw franchise, which has suffered a general dismissal under the derogatory banner Torture Porn. In this article I use detailed textual analysis of the Saw series to expound how film sequels employ and complicate expected temporal and spatial relations in particular, I investigate how the Saw sequels tie space and time into their narrative, methodological and moral sensibilities. Far from being a gimmick or a means of ensuring loyalty to the franchise (one has to be familiar with the events of previous episodes to ascertain what is happening), it is my contention that the Saw cycle directly requests that we examine the nature of space and time, in terms of both cinematic technique and our lived, off-screen temporal/spatial orientations.' (Publication abstract)
'Horror film sequels have not received as much serious critical attention as they deserve this is especially true of the Saw franchise, which has suffered a general dismissal under the derogatory banner Torture Porn. In this article I use detailed textual analysis of the Saw series to expound how film sequels employ and complicate expected temporal and spatial relations in particular, I investigate how the Saw sequels tie space and time into their narrative, methodological and moral sensibilities. Far from being a gimmick or a means of ensuring loyalty to the franchise (one has to be familiar with the events of previous episodes to ascertain what is happening), it is my contention that the Saw cycle directly requests that we examine the nature of space and time, in terms of both cinematic technique and our lived, off-screen temporal/spatial orientations.' (Publication abstract)
