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Alfred hitchcock norman bates psychological analysis
Psycho the movie analysis
Psychology of alfred hitchcocks psycho film
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Film Critique:
Hitchcock’s superb ground-breaking thriller Psycho (1960), has inspired almost three generations of film through its unique, pioneering, methods of music, cinematography, acting, lighting and prop/setting. As like many other classic film Psycho (1960) changes the way film makers and the audience view the film and and has a lasting impact on the film industry especially in regards to dogma surrounding violence and nudity during that era. Psycho (1960) is a fundamental classic as it uses these usual mediums in totally new, revolutionary forms, as well as implementing ulterior meaning into every element of the films’ composition rather than simply using props etc. as the backdrop of the story. This article hopes to analyse key mise-en-scene elements within various scenes throughout
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Of the many infamous Hitchcock film masterpieces, the classic thriller Psycho (1960), is one of his most endearing and memorable works that includes many mise-en-scene elements such as lighting, acting, props and setting, shot composition and music. During the one of the final chilling scenes Lila Crane, discovers the corpse of ‘mother’ before turning to witness Norman dressed as his mother preparing to kill her. During this memorable shot Norman is tackled just in time by Sam, as he is forced to the ground the actor playing Norman (Anthony Perkins) lets out a womanly shriek whilst also acting as though weak and elderly when tackled. The use of this shriek and lack of self-defence illustrates the extent of Norman’s dissociative personality disorder as well as to overwhelm and shock the audience. Other than the never-before-used psychological horror of Psycho (1960), the use of swinging light also contributes to the lasting impact Psycho (1960) leaves on the
Analyse the Techniques Used by Hitchcock To Create and Maintain Suspense In his Film Psycho
Alfred Hitchcock manipulates the camera to draw the attention of the audience, in the 1960’s thriller, Psycho. The credits abruptly appear on the screen, as though the lines are stabbing at something. The words are white text against a plain black background. This symbolises the dark being the dominant colour, but still creates a visual binary opposition. The word ‘Psycho’ is contorted and indecipherable, having been displayed over more than one of the horizontal lines foreshadowing the confusion later on in the film. They accentuate that something extreme will happen and sub-consciously raise the viewer’s awareness of events that could proceed to happen.
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.
Development of Suspense by Hitchcock in Psycho 'Psycho,' the somewhat infamous film by Alfred Hitchcock was produced in 1961, a time when the American censors, The Hays Office, still dominated the film industry with their strict rules and principles. It earned its notoriety by defying the traditional cinematic convections of that time and pushing the boundaries of what could be shown in mainstream cinema. The rules implemented by The Hays Office were far stricter than they are today, and Hitchcock uses all available means to reach and go slightly beyond the set limit. Using clever and different camera angles, he implies things that are not shown. He proves that innuendoes can portray the same image and retract the same audience responses as blatant actions and pictures.
The scene in which Margot gets attacked, clever lighting effects are effectively employed by Alfred Hitchcock, to build up the anticipation of the audience and add-on greatly to the element of suspense and thrill present in the scene. It is noticeable how the entire set is dark and only some parts are selectively lit in order to capture audience focus. For example, the scene in which the doorknob turns slowly and the ...
The movie Psycho was created in 1960, and directed by Alfred Hitchcock. The film had many meaningful moments behind it, which all led up to a shocking yet interesting twist for an end. Many clips corresponded well with Bill Nichols thoughts and opinions on how “Every movie is a Documentary.” By comparing both the Nichols reading, and the film Psycho, it is easy to see that this film is a wish-fulfillment documentary. This film shows what could be a scary reality in many people’s lives. It gives us examples of what could be our deepest nightmares and dreads, influences an opinion over people who have multiple personalities, and even feeds some peoples interests.
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.
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 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.
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
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.”
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.
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.
Psychodynamic therapy, focuses on unconscious mind and how past experiences, inner thoughts, fears, and emotions The main goal of psychodynamic therapy is for clients to be self-aware of the past and how it effects who they are in the present. This type of therapy focuses on the underlying problems and emotions that influenced the client’s behavior. (Psych Central, 2016)
Alfred Hitchcock’s 1960 thriller Psycho is commonly referred to as a cinematic masterpiece, with its chilling cinematography and thrilling storyline. However, the music and sound in Psycho can be easily overlooked in comparison to its visual aesthetics. The article “Psycho and the Orchestration of Anxiety” by Stephen Deutsch focuses on the film’s iconic soundtrack and the stylistic, emotional, and storytelling role that it plays. Deutsch credits the sound’s stylistic influence to television dramas of the 1950s.