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Hitchcock psycho, how it effected the film industry
Alfred Hitchcock biography, influences, director’s vision and style, and the significance essay
Alfred Hitchcock biography, influences, director’s vision and style, and the significance essay
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In this essay I will be analysing the use of cinematography in two films, using Peeping Tom (1960) directed by Michael Powell and Psycho (1960) directed by Alfred Hitchcock. The reason why I choose these two films is because although they are from the same genre, and from the same period, the methods both films use are similar and at the same time completely different. To begin with, the cinematography in Peeping Tom is very clever and subjective especially in the murder scenes. The main character uses the tripod of his 16mm film camera in order to murder people, and showing the audience his footage rather than shooting it how the rest of the film is shot creating a suspense and tension that without this method wouldn’t be as powerful. The …show more content…
Moving on too Psycho, Hitchcock both produced and directed the movie, so he had “ a great deal of involvement in the actual planning and filming of Phsyco. His originality in this area constibuted greatly to the unique nature of the film” . Hitchcock successfully made the audience feel like they were “right inside the situation instead of leaving the to watch it from outside, from a distance”. As a director he broke the actions into details “ cutting from one to the other, so that each detail is forced in turn on the attention of the audience and reveals its psychological meaning.” Another scene that works very well in the film is the pan of Norman going up the stairs to his mother’s room and then taking her to the fruit cellar. In this shot Hitchcock cleverly hides his mothers face with a long shot which ends in an overhead view of Norman carrying her – “This beautifully photographed shot meant to hide the face of Norman’s mother is an example of how Hitchcock uses cinematography to guide our eyes in whichever direction he pleases supporting the …show more content…
It is intelligent blocking of the character and lighting placement, as there is a single light hanging from the ceiling, which after Marion screams gets knocked, causing the shadows to move menacingly along the wall. This clever idea adds to the horror of the scene with the horrific skeleton. The skeleton is also very brightly lit compared with the rest of the room bringing out the horror of how it looks. It is almost lit as if with a spotlight from camera-left, creating almost black on one side of the skeleton. Psycho famously makes use of double images in scenes. This is symbolic of the split personality of Bates/Mother. This is achieved in a variety of ways, sometimes a mirror or reflection in a window is used, at other times a strong key light casting a harsh shadow is used instead. This effect is very well used, as harsh shadows such as that if overused could create an unnatural look to the shot, thus distracting the audience, but Hitchcock was just subtle enough in its use to instead be a clever thing which hopefully subliminally hints to the audience about the upcoming
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.
In conclusion in “Rear Window” Hitchcock is shown off as an auteur and realist though his modification and implementation of his own creative mind and as a realist by conveying reality and occurrences of everyday life respectively. He also used methods such as eye line matching, cinema as window and frame, and potentially character specific lighting to connect the audience with the characters and to give the main characters more individualized
Alfred Hitchcock’s 1954 film Rear Window is truly a masterpiece, as it uses fascinating cinematic elements to carry the story and also convey the meaning of voyeurism. Throughout the film we are in one room, yet that does not limit the story. This causes the viewer to feel trapped, similar to the main character, while also adding suspense to the detective story. The opening scene itself, draws the viewer in. In just five minutes and 27 shots, the viewer is given an introduction to the main character, his lifestyle, his condition, and his neighborhood. The lighting, the costumes, and the set are all presented in a way to catch the viewers eye, compelling them to crave more. Combining vivid lighting, edgy cinematography, and unique set design, Rear Window, proves why Hitchcock is still remembered as one of the greatest and most influential directors of all time.
While, the sinister looking birds characterises him as a predator. Hitchcock achieves his goal of portraying duality of human nature by incorporating mis-en-scene and cinematography, consequently Marion appears as an innocent victim and Norman as the evil hunter - engaging the audience by adding tension to the
All directors of major motion pictures have specific styles or signatures that they add in their work. Alfred Hitchcock, one of the greatest directors of all time, has a particularly unique style in the way he creates his films. Film analyzers classify his distinctive style as the “Alfred Hitchcock signature”. Hitchcock’s signatures vary from his cameo appearances to his portrayal of a specific character. Two perfect examples of how Hitchcock implements his infamous “signatures” are in the movies, A Shadow of a Doubt and Vertigo. In these movies, numerous examples show how Hitchcock exclusively develops his imagination in his films.
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.
Psycho is an American horror film directed by Alfred Hitchcock in 1960 based on a 1959 novel with the same name. Alfred Hitchcock typically uses certain elements in almost all of his films. In Psycho the following elements appear; blonde woman, conversation that is not important to the story, alcohol, Hitchcock appearance, Mcguffin, pursuit, the camera looks around, a P.O.V., creating suspense by letting the audience in on a secret, mother figure, birds, stairs, and a narrow escape.
As the paradigm in which this curiosity is exposed inhabit the human being, that voyeurism that uncounted of us have inside. Hitchcock is able to use this element to catch the spectator, building a devilish and fascinating tale of suspense set in a microcosm. In which there reflects the intimate and daily life of the current man, where the protagonist observes from his window. The viewer sees what Jeff (the protagonist) observes, has the sensation of being the protagonist, observing through his window.
Stam, Robert & Pearson, Robertson., ‘Hitchcock’s Rear Window: Refluxivity and the Critique of Voyeurism’ in Deutelbaum, Marshall & Poague, Leland A. ed., A Hitchcock Reader (John Wiley & Sons: 2009).
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.
The Alfred Hitchcock film; Vertigo is a narrative film that is a perfect example of a Hollywood Classical Film. I will be examining the following characteristics of the film Vertigo: 1)individual characters who act as casual agents, the main characters in Vertigo, 2)desire to reach to goals, 3)conflicts, 4)appointments, 5)deadlines, 6)James Stewart’s focus shifts and 7)Kim Novak’s characters drives the action in the film. Most of the film is viewed in the 3rd person, except for the reaction shots (point of view shot) which are seen through the eyes of the main character.(1st person) The film has a strong closure and uses continuity editing(180 degree rule). The stylistic (technical) film form of Vertigo makes the film much more enjoyable. The stylistic film form includes camera movements, editing, sound, mise-en-scene and props.
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
The character of Norman Bates deviated from the book's original character, a forty year old pervert, to Anthony Perkins' character 'a tender vulnerable young man' one could almost feel sorry for. Perkins plays Norman Bates as if the role were written for him, with his nervous voice used throughout the movie and his awkward appearance and actions. A distinct part of Norman's character is his subtle lapses in which he shows signs of the ever present 'Mother'. The parlour scene is an excellent example of these lapses. The lines 'a boy's best friend is his mother' and 'we all go a little mad sometimes' are e...
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
His way of leaving the audience on their seats while still telling a good story was what made Hitchcock an outstanding director and writer. His 50s films are known for their interesting cinematography. This includes people hanging off Mount Rushmore and The Statue of Liberty. Or the classic scene of Cary Grant being chased by a airplane. The only way to get rid of my fears is to make films about them,” is what Hitchcock said about his film making. He had this to say “Always make the audience suffer as much as possible.” These movies would lead Hitchcock in to one of his most classic film, Psycho. These are also the movies that pave the way for horror and suspense films. Hitchcock said this once about building suspense, “Four people are sitting around a table talking about baseball or whatever you like. Five minutes of it. Very dull. Suddenly, a bomb goes off. Blows the people to smithereens. What does the audience have? Ten seconds of shock. Now take the same scene and tell the audience there is a bomb under that table and will go off in five minutes. The whole emotion of the audience is totally different because you've given them that