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Importance of music in a film
How hitchcock created suspense in psycho
Suspense hitchcock
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The shocking twisted ending in film Psycho (1960) was a most successful Hitchcock’s mystery. Owing to such unexpected finish, the film made a powerful impact on the audience. The whole movie was a build up of suspense with mystery resolution. The suspense is often weakened by the fact that the plot is not clear enough to the public. In the case of Psycho, all the details were shown to the audience, some shots even were played twice to achieve better understanding. A spectator was aware of the danger but not prepared for such resolution. “Don’t give away the ending, it is the only one we have!” was the slogan of the movie. (Robb, 2010) Everything was planned to penetrate the emotion of the audience. Music was a significant element in penetrating emotion. “Hitchcock himself admitted that at least a third of the movie's impact depended on the music”. (Nixon, n.d.) “The violins wailing away during Psycho's shower murder scene have achieved the status of cultural shorthand - denoting imminent violent insanity” (Robb, 2010) Hitchcock not only developed mystery and suspense in the movie, he also …show more content…
achieved it in the marketing of the film. “To keep secret the film's final twist, Psycho was not screened for critics or cinema-owners before release”. (Robb, 2010) For the first time, the cast and crew “had been made to sign non-disclosure agreements preventing them speaking about the film”. (Robb, 2010) “No-one was allowed into the cinema once the film had started - enforced by uniformed guards, this was an extraordinary measure in an era when people were used to coming and going during theaters”. (Robb, 2010) “Mystery” refers to an intellectual process where there is a puzzle that needs to be solved; “suspense” refers to an emotional process where there is an unknown situation, event, or threat that produces anxiety and fear and needs to be resolved.
In suspense moments the viewer gets involved in what is happening on the screen, he feels as a direct participant in the events that unfold in the film. The most important thing is the ability of the director to suspense and mystery. Hitchcock had the ability to involve the viewer in a movie. The verdict of the three movies Sabotage, The Man Who Knew Too Much, and Psycho is Alfred Hitchcock designed everything to achieve what he believe was the important distinction “mystery” vs. “suspense”. He has done it with great attention to the applicable musical accompaniment, delivery of information to the audience, and penetration of
emotion.
Suspense, something vital filmmakers, and authors need in their stories, but how does someone include suspense in their stories that gets the audience on the edge of their seats and begging for more? In the essay, “Let Em’ Play God” by Alfred Hitchcock, he states that letting the audience know everything while the characters don’t create suspense.
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 film Rear Window that was released in 1954 Alfred Hitchcock the director uses suspense through out the film to create a mystery. Hitchcock uses several techniques like symbolism, narratives, and voyeurism. Hitchcock main focus in the film was to create the entire film from a one-point vantage spot. The film depicts a vision in the audience head that is produced by visuals. How do gender roles. Having the film shown by the eyes of the protagonist Jefferies eyes the audience have a connection to the film and have one specific vocal point to focus through out the film.
Alfred Hitchcock’s films not only permanently scar the brains of his viewers but also addict them to his suspense. Hitchcock’s films lure you in like a trap, he tells the audience what the characters don’t know and tortures them with the anticipation of what’s going to happen.
One major attribute in Hitchcock films is how creatively Hitchcock tricks the audience about the fate of the characters and the sequence of events. Many people argue that it is a tactic by Hitchcock to surprise his audience in order to increase the suspense of the movie. For example, in Shadow of a Doubt, the audience assumes that young Charlie is an innocent young girl who loves her uncle dearly. However as the movie progresses, Young Charlie is not as innocent as the audience suspects. Young Charlie, once a guiltless child, ends up killing her evil uncle. In Vertigo, the same Hitchcock trickery takes place. In the beginning, the audience has the impression that the Blond women is possessed by another woman who is trying to kill her. The audience also has the notion that the detective is a happy man who will solve the murder case correctly. Just before the movie ends, the audience realizes that the detective was specifically hired by a man to kill his wife. The detective, in the end, seems to be the hopeless, sad victim.
bank. Marion went home there was a close up shot on the money then on
Alfred Hitchcock’s Vertigo is a thrilling film filled with mystery and suspense. However, Hitchcock left many unsolved issues at the end of this film. In contrast, when comparing Vertigo to more recent films of similar genre’, mysteries are usually always solved and thoroughly explained by the end of the film. Ironically, Hitchcock’s failure to explain everything to the audience in Vertigo is one of the film’s best attributes. This lack of knowledge allows the viewer to use their own imagination and speculate as to what might or might not have become of certain characters.
them focus on the money, as it is a large amount and is cash it helps
...he chessboard. In this poisoning scene, the audience’s psychological changes are strongly tied to the elements that constituted by Hitchcock. As a master of suspense, he puts the audience in an extreme intense condition through the whole scene, but not the audience only get shock in one particular moment. When the Mrs. Sebastian says the plan should practice without anyone’s suspicious. In fact, the audience is the one who actually suspicious the most in the game of Hitchcock. The reason why we are the one in most suspense can explain by the audience could anticipate the answer before hand, but the character in the scene does not know it. The process is a “torture” to some audiences, because it is similar to the theory that a prisoner might be executed just in five seconds, but the process of waiting for the execution maybe five minutes, five days or five years.
Sound is an incredibly relevant part of filmmaking. Although often misunderstood, it helps to generate a more realistic episode by recreating the sonic experience the scene needs. Its main goal is to enhance the emotions that each section is trying to convey by adding music and effects alongside moving images. Psycho (Hitchcock, 1960), is one of the most popular films of the XX Century (Thomson, 2009). Commonly recognised as a masterpiece for its cinematographic, editing and musical values, it changed cinema forever by “playing with darker prospects (…) of humanity such as sex and violence (Thomson, 2009)”. This paper will analyse the sound effects used in the shower scene and its repercussions
Alfred Hitchcock's Vertigo is a film which functions on multiple levels simultaneously. On a literal level it is a mystery-suspense story of a man hoodwinked into acting as an accomplice in a murder, his discovery of the hoax, and the unraveling of the threads of the murder plot. On a psychological level the film traces the twisted, circuitous routes of a psyche burdened down with guilt, desperately searching for an object on which to concentrate its repressed energy. Finally, on an allegorical or figurative level, it is a retelling of the immemorial tale of a man who has lost his love to death and in hope of redeeming her descends into the underworld.
He often uses the analogy of a bomb. He says that if a bomb goes off out of nowhere the bomb the audience are only surprised for ten seconds. he says you have to show the bomb to create suspense. He says you show the bomb under a table and show people talking. Hitchcock says this gives the audience suspense because they are so focused on the bomb going off. You have to show the audience what is going to happen to the characters. This is how you can create suspense. He says it is important to keep things simple for the audience. He says that they should know who is and what is what. You can use distinctive clothes to distinguish each character. He also says it is important to let the people know where everything is. For example you should let the audience know where the documents are hidden. Having things clear makes the audience more engaged and keeps them focused on the
with his line of vision. He rushes out the door. AS he does so the
In his own words he stated the following: “If Psycho had been intended as a serious picture, it would have been shown as a clinical case with no mystery or suspense. The material would have been used as the documentation of the case history. We’ve already mentioned that total plausibility and authenticity merely add up to a documentary.” Hitchcock was dogmatic about the dramatic innuendos and sequences that the functions of sound and music created. He often interwove his suggestions into the screenplay even! Sound was so important to Hitchcock that no matter how much Hitchcock trusted his composer and sound mixer, he always dictated detailed notes for the dubbing of sound effects and the placement of music. Everything needed to be perfect in the eyes or in this case ears of Hitchcock. His meticulous and perfectionist ways are definitely evident in his films. In Psycho, Hitchcock wanted "no music at all though the motel sequence". Hermann, the person behind most of Hitchcock's films scores, at first did not quite understand where Hitchcock was going with this. Hitchcock was so pleased with the "black and white" score use of only the cello and violin and he dubbed it a masterpiece. Hermann found it peculiar that Hitchcock did not wish for an percussion but after the film was completed. He realized that the meticulous way Hitchcock wanted the score created an eerie and unnerving suspense that the film
Besides Hitchcock’s amazing ability in creating suspense the film is full of his unique and recognizable touch. At the very start of the film, he appears in a cameo as a bystander who arrives a second too late to catch the bus. Hitchcock is famous for always making at least one cameo in all of his films, and it is said that at the height of his career he had to place his cameo at the beginning of the film or the audience would spend the rest of the film looking for him. (Truffaut, F., Hitchcock, A., & Scott, H. G. (1967). Hitchcock). Eva’s character also perfectly fits Hitchcock’s criteria: blond, beautiful and in distress. The director is also famous for the morbidity with which he directed his female leads. She was instructed by Hitchcock