2) Psycho is a brilliant example of Hitchcock’s pure command of cinema, in which many different film techniques are used to great effect to instill terror and unease in the viewer. The mise-en-scene, in particular, is Hitchcock’s way of visually selling the terror in a way that dialogue and script never could on its own. The shower scene, in particular, is notable for demonstrating some of Hitchcock’s best use of mise-en-scene – the shower itself is bare, nondescript, with the translucent curtains that allow ominous silhouettes to be seen through it. In terms of costumes, Norman Bates’ equally nondescript clothing helps to sell the mild-mannered man he is ostensibly supposed to be, while the harrowing wig and dress he is eventually revealed
For most aspects in life, we take lighting and general vision for granted. When we flick a switch we
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.
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
And last but not least is the villain in these movies. Most of the killers in these films are portrayed as mentally deranged and/or has some type of facial or bodily deformation and who have been traumatized at an early age. Even though these characters terrorized and murder people they have taken on the persona of anti-heroes in pop culture. Characters like Halloween’s Michael Myers, A Nightmare on Elm Street’s Freddy Krueger and Friday the 13th’s Jason Voorhees have become the reason to go see these movies. However, over time,”their familiarity and the audience’s ability to identify and sympathize with them over the protagonist made these villains less threatening (Slasher Film (5))”.
bank. Marion went home there was a close up shot on the money then on
In 1926, Hitchcock directed The Lodger; which is considered his first real film; he reflects his technical abilities in addition to his capacity to manage narration and symbolism. This style transformed in his signature for the subsequent films. The Lodger is the template of Hitchcock´s films because in he established a certain formula as well as certain theme to develop and explore in his next films. According to Spoto one of the iconic elements that Hitchcock incorporate in this film was a revealing and full with important information opening scene, which he would use in all of his films. Also the couple formation, symbols and underlying ideas that would be treated in the films, start with the production of The Lodger. It would be appropriate
Perhaps no other film changed so drastically Hollywood's perception of the horror film as did PSYCHO. More surprising is the fact that this still unnerving horror classic was directed by Alfred Hitchcock, a filmmaker who never relied upon shock values until this film. Here Hitchcock indulged in nudity, bloodbaths, necrophilia, transvestism, schizophrenia, and a host of other taboos and got away with it, simply because he was Hitchcock.
PSYCHO is a unique film because it is a black and white film in the
Cinematography of Hitchcocks Psycho Alfred Hitchcock is renown as a master cinematographer (and editor), notwithstanding his overall brilliance in the craft of film. His choice of black and white film for 1960 was regarded within the film industry as unconventional since color was perhaps at least five years the new standard. But this worked tremendously well. After all, despite the typical filmgoer’s dislike for black and white film, Psycho is popularly heralded among film buffs as his finest cinematic achievement; so much so, that the man, a big
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.
Psycho is a suspense-horror film written by Joseph Stefano and directed by Alfred Hitchcock. This film was loosely adapted from Robert Bloch’s 1959 suspense novel, Psycho. A majority of the movie was filmed in 1960 at Universal Studios in Los Angeles. Psycho is about Marion Crane (Janet Leigh), a secretary from Arizona who steals $40,000 from her employer’s client. She takes that money and drives off to California to meet her lover Sam Loomis (John Gavin) in order to start a new life. After a long drive, she pulls off the main highway and ends up taking refuge at an isolated motel owned and managed by a deranged Norman Bates (Anthony Perkins). In Alfred Hitchcock’s film, Psycho, symbols, character and point of view are three literary aspects used in the film to manipulate the audience’s emotions and to build suspense in the film.
In the world of cinema, there’s almost always a discussion regarding what scenes would be suitable for the grasping imagination of any audience, young or old. Alfred Hitchcock’s 1960 film, Psycho, sparked a plug for the movie industry as it was the first movie of its kind to display such graphic scenes of sex and violence to a worldwide audience.
Hitchcock has a way of throwing clues in the face of the spectator, yet still allows some room for the spectator to find their own less obvious details. In the same museum scene, Hitchcock shows the viewer exactly what he wants them to see. In a sense, Hitchcock can be very manipulative with the camera. The audience sees the picture containing the women with a curl in her hair holding flowers, and then the direct connection is made by the camera, by showing the curl in Madeline’s hair, and the flowers sitting next to her. The spectator is led to believe that they have solved the mystery and she is truly possessed by the women in the picture. However, Hitchcock does this on purpose to lead the audience away from the truth that she is only acting. It is for these reasons that Hitchcock’s work at an auteur adds a level of depth and intrigue.
Hitchcock employs plenty of unique visuals, including camera tricks that confuse depth perception, invasive close-ups, film noir lighting, and rapid cuts to show nudity with out showing nudity or extreme violence / killing without much blood. The movie “Psycho” was a first for several filmic elements making it sometimes more notable than effective. At its heart, however it’s a extreme thrilling murder/ mystery that boasts a climax unlike any other before its time. The suspense and anticipation are almost unbearable, keeping the ultimate, answers brilliantly stowed until the very
There are four crucial scenes of this film in which Hitchcock shows a change in perspective and identity through the mise-en-scène. Hitchcock’s signature motifs, style, and themes are conveyed through the mise-en-scène.