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Women portrayal in movies
Representations of sexuality in films
Women portrayal in movies
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Both of the films started of following two blonde women who are unhappy with the lives that they live. Marion Crane wants to be with her love Sam but due to financial circumstances cannot do so. So Marion steals money in order to be together with Sam. Kate Miller on the other hand is married but is not satisfied with her marriage and her husband which leads her to cheat on her husband with a stranger she meat at a museum. This shows actions that the society generally frowns upon. In both cases the females are punished and in both cases female sexuality is explored. With Psycho it is shown in the beginning of the movie where Marion is half dressed while with Dressed to Kill female sexuality is pushed further through the dream sequence shower scene and Kate’s fantasies as well as the cheating. This shows the truth that lies beneath the surface of society; essentially Brain De Palma is showing the darkness that the society fears but in a more modern setting.
When looking at Brain De Palma’s version of the parlor scene Dr. Elliot is depicted as self-righteous but at the same time admitting so bluntly that he desires Kate, his patient, it takes away from self-righteousness. Norman does not bluntly admit his desire for Marion but instead chooses to be the peeping tom and spy on Marion as she gets ready for shower. Again De Palma choses to show sexual anxiety in a more blunt way than Hitchcock could show in Psycho. Also there is the character of Liz Blake who comparing to the character of Lila Crane is far more expressive with her sexuality and is a prostitute. Again De Palma is doing what Hitchcock could not have done at the time and shows openly female sexuality in Dressed to Kill.
Then there are also the characters of Sheriff A...
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...w the hosting of two personalities in Dr. Robert Elliot worked De Palma was able to show what the society really thought of psychiatrists and the police, and De Palma was able to undermine what would seem important to society which is order and stability. Through this scene and through other similarities and differences that De Palma has created in Dressed to Kill one could see the influence of Psycho. De Palma has perhaps borrowed and revised from Psycho but only to show the darkness that Psycho had by using less discretion, more female sexuality, more male sexual anxiety, and showing the instability and chaos that really exists in the society. So Hitchcock’s Psycho has really been a lasting influence and De Palma made sure to bring out the darkness and the chaos that the film holds through the similarities and differences seen between Psycho and Dressed to Kill.
Alfred Hitchcock's Psycho Alfred Hitchcock's "Psycho"-the movie the world recognised-was first premiered in the home town of New York on the 16th June 1960.The film follows the life and strife of a young beautiful woman Marion Crane, played by the Janet Leigh, who is on the run from the police after stealing $40.000, she manages to find refuge at the Bates motel where she makes her worst mistake possible. During and after the film production of "Psycho" Alfred Hitchcock had his aids buy as many copies as possible of the novel "Psycho"-written by Robert Bloch. Why? To conceal the ending form the public's eye so when the film was shown in cinemas the audience would'nt know the ending. When people found out the title of the movie Hitchcock said it was based on a greek love story "Psyche".
The 1960 horror film Psycho, directed by Alfred Hitchcock, explores the idea of duality and conflicting sides of human nature. The characters are conflicted in several ways and as the narrative unfolds are faced with decisions which ultimately uncover the predominant side to their contrasting personalities. Immediately, the opening credits and scene foreshadows the idea of duality, presenting Marion Crane as the first conflicted character. Hitchcock cleverly utilizes images and mirrors, to explore the characters dualities - establishing a difference between their moral and immoral behaviour. Furthermore, showing the audience two sides of the characters, perhaps the most obvious is the character Norman Bates.
Suspense is only one of Hitchcock’s many techniques and themes. His themes range from the obvious violence, to the depths of human interaction and sex. From Rear Window to Psycho, Hitchcock’s unique themes are present and evident. Rear Window starts with something we all do at times, which is nosing in and stalking on others business, and turns it into a mysterious investigation leaving the viewer second guessing their neighbors at home. Psycho on the other hand, drags
The two films Psycho and The Birds, both directed by Alfred Hitchcock, share similar themes and elements. These recurring themes and elements are often prevalent in many of Hitchcock’s works. In Psycho and The Birds, Hitchcock uses thematic elements like the ideal blonde woman, “the motherly figure”, birds, and unusual factors that often leave the viewer thinking. Hitchcock’s works consist of melodramatic films, while also using pure cinema to help convey messages throughout the film.
Although some viewers and critics responded negatively to Psycho, their appraisal changed once they had time to reassess the value of the film. Nearly forty years after the film's release, Psycho is still cited as a masterpiece which has inspired many dozens of other films such as Dressed to Kill (1980) and Fatal Attraction (1987) (Nowell-Smith 491), and is used as "a yardstick by which other thrillers are measured" (Rebello 194). "The effect both in the short run, in establishing Psycho as the ultimate thriller, and the long run, in altering the cinema-going habits of the nation, is indisputable" (Clover 191).
In Psycho by Alfred Hitchcock, the conversation between Marion and Norman has shown extreme importance to both the plot and the themes of the movie. As the movie shown Norman’s psychotic mind, we but give great evidence of how the environment had influence on him. With the comparison of other character’s personalities, audiences are actually persuaded back to see the similarity of his mind to normal people’s. Traps are also discussed in this significant dialogue, to show his logical thinking of his situation. As scenes of logics shown from Norman comes up one by one, Norman’s rational process of thinking give as a big question ‘Is he really a Psycho or just the smartest murderer?’
In the hundred or so years of cinema, there have been many significant figures behind the camera of the films audiences have enjoyed, though there has been a select few that are considered “auteurs.” One of the most famous of auteurs in film history is the great Alfred Hitchcock, who is most identified with the use of suspense in his films, while also being notorious for the themes of voyeurism, the banality of evil, and obsession. In both the films we watched in class, Psycho and Rear Window, these three themes were somehow a part of the deeper meaning Hitchcock wanted to convey to the audience.
Psychotherapists have grappled with the concept of sexual sadism and masochism for decades. In his early writings, Freud (1924) described sadomasochistic (SM) practice as a means of attaining pleasure through the administration or attainment of pain. He acknowledged that SM behavior contradicted his theories on human instincts and the pleasure principle, and ultimately attributed the behavior to the interaction of flawed aggressive instincts, unconscious Oedipal guilt, and the enigmatic death drive. His initial perspectives on SM behavior eventually informed our field’s current perspectives of SM as a form of psychopathology. To date, some researchers study SM sexual practices through a psychopathological framework that characterizes SM identity as a type of abnormal sexuality. Meanwhile other psychotherapists view the practice as linked to complicated object relations, narcissism, affect regulation, and various neurotic responses (The Clinical Problem of Masochism, 2012).
The film Psycho (Alfred Hitchcock, 1960) is an interesting film with many small details that help shape the film in to award winning masterpiece it is. The mise-en-scène is something that can go overlooked, but is very vital in understanding the meaning of the film. According to the book Film Art, mise-en-scène is all of the elements in front of the camera to be photographed, and because of that, this film technique is one that viewers notice most (p. 112). So this includes things like characters, props, nature and even behavior. Motifs and symbolism are prominent throughout the entire movie. They both help develop the plot either by continuously appearing throughout the film or by having a specific meaning that is a lot deeper than what it looks like on the surface. The mise-en-scène, especially motifs and symbolism, of Psycho plays a huge role in helping convey the meaning of the film.
Norman Bates is arguably the most unforgettable character in the horror genre. His movements, voice and aura at first radiate a shy young man but transform into something more sinister as the movie Psycho (Hitchcock, USA, 1960) progresses. How has the director, Alfred Hitchcock, achieved this? Norman Bates was a careful construct: the casting, body language, lighting and even the subtle use of sound and mise-en-scène created the character.
In the article, “Psycho at Fifty: Pure Cinema or Invitation to an Orgy?” by John A. Bertolini, he describes how the images and scenes throughout the whole movie and its more arguable parts are what made the film stick with the imagination of Hitchcock’s audience. He goes on to give an explanation of how Hitchcock is as well one of few directors who is able to mix a little humor to go along with his vicious plot. Bertolini speculates that the audience was thrown off by savagery depicted in this film and more concerned with the emotions that were created by Hitchcock’s movie. He also outlines how much controversy the film created Psycho by stating how it, “reflected the changes at work in the larger society, especially the increasing insiste...
At some point in a director’s life he/she learn different tactics from their colleagues and soon they become each other’s rivals. With no malice just a simple competition on who could make films more realistic, more intriguing, and more appealing to the audience. Two directors who were in friendly competition were Alfred Hitchcock and Fritz Lang. Two of the many films both directors were known for were “M” directed in 1931 by Fritz Lang and “Psycho” directed in 1960 by Alfred Hitchcock. Which although directed in different times both showed a very important similarity, that being the targeted audience; Lang and Hitchcock were widely known for their thrillers.
Through the use of irony, mis en scene and recurring symbols, Hitchcock has reinforced the fundamental idea of duality throughout his film, Psycho. Alfred Hitchcock’s 1960’s American psychological horror thriller, was one of the most awarded films of its time, proposing contrasting connections between characters, Anthony Perkins and Janet Leigh, and cinematic/film techniques to develop this idea. Irony identifies contrasts between the dual personalities of Marion Crane and Norman Bates, often foreshadowing the future events of the film. Mis en scene is particularly influential to enforcing the idea of duality, evidently shown through the music and diegetic sounds used. The recurring symbols including the mirrors and specifically the birds, underpin a representation of the character’s dual personalities. Hitchcock’s use of devices reinforces the dual personalities of characters Anthony Perkins and Janet Leigh.
Freud's proposed theory indicates that the psychosexual stages are known as oral, anal, phallic, latency, and genital stages, which profoundly make up a person’s personality. “These are called psychosexual stages because each stage represents the fixation of libido (roughly translated as sexual drives or instincts) on a different area of the body.” (Saul McLeod, 2008) Concerning the oral, anal, phallic, and genital stages it is believed that if there is an overindulgence or lack of indulgence, people’s psychological development is influenced. The conflicts presented in each psychosexual stage must first be satisfied before a character can move to the next stage, and too much stimulation in one stage or not enough stimulation can define one’s
Societal views and conceptions on disability and disabled sexuality have undergone many changes throughout history. However, negative, misinformed, and neglectful views on the sexuality of the disabled have been prevalent for centuries and can be traced back to 1614 when the first diagnosis of "mental retardation" was recorded, with the cause of the mental condition being stated as an "overindulgence in sexual pleasure" (Wade, 12). These views continued into the first half of the 20th century, seeing some improvement starting in the 1940s, when eugenic sterilization was eradicated in the United States. During the second half of the 20th century, there was some progress made in the way people with disabilities were regarded and treated in society,