According to Wood, horror movies follow a basic formula. A variable in this formula is the relationship between normality and the Monster. “The relationship has one privileged form: the figure of the doppelganger, alter ego, or double…”(Wood 192). We first meet Norman when our soon to be victim Marian stubbles upon his lonely motel. He evokes an average amount of normality to the untrained eye. Though he stumbles a bit with his words in response to her beauty, he’s overall welcoming and kind. The strangeness starts emerging when he starts to talk about his sickly mother. You see in his eyes that there is more to the story than what is being stated. Marian insists that he could free himself from his mother’s dominance if he puts her away. Norman responds saying she doesn’t need to go away, she’s not a maniac, she’s just a little mad, and “we all go a little ...
... middle of paper ...
...e a leather-faced, chainsaw carrying lunatic, a little boy, or even the local owner of a motel down your highway. In the case of Alfred Hitchcock’s 1960 thriller Psycho, our monster was Norman Bates, a psychopathic killer. A killer shaped by his front of normalcy, his ability to attract sympathy from the audience, the relations he has to the things he stuffs, his mothers oppression, and consequently the actions formed by his years of sexual repression. All these aspects solidify the formula presented in “An Introduction to the America Horror Film” (183-208).
Psycho. Dir. Alfred Hitchcock. Perfs. Anthony Perkins, Vera Miles, John Gavin. Shamely, 1960. Web. January 2011.
Wood, Robin. “An Introduction to the American Horror Film.” Writing 2 Reader. BK Faunce. Fall, 2010. [Winter 2011] [183-208]
Need Writing Help?
Get feedback on grammar, clarity, concision and logic instantly.Check your paper »
- ... There 's a eye match that goes on from Mary to the money, and a panning shot from the money to the bag. It is unacceptable to carry around $40,000. It is equally unacceptable to steal the money from her boss. We see that she 's torn between the two because of the tension in that moment. "She comes around to the suitcase and puts them on the top. Mary works with haste and in tension, as if acting on an impulse which might vanish as quickly as it came." Mary Crane 's goal is to leave Phoenix with the money and travel to Fairvale to be with Sam.... [tags: Psycho, Alfred Hitchcock, Norman Bates]
712 words (2 pages)
- Throughout cinema, there has always been space in our hearts for the gore and intrigue that come from horror films. Though they come with different plots, there remains “the monster”, the character that brings along disgust, horror, suspense, and even sympathy. In Alfred Hitchcock’s Psycho (1960), our monster is Norman Bates, the boy next door. This was one of the first times in American cinema that the killer was brought home, paving the way for the future of horror movies. According to Robin Wood in “An Introduction to the America Horror Film” (183-208), Bates follows the formula of the Monster being a human psychotic.... [tags: Psycho Film Analysis]
1189 words (3.4 pages)
- “Frailty, thy name is woman!” Domineering. Overbearing. Controlling. The last qualities thought of within the mother figure. Sinister it is as the enigma between the mother, the lover and the daughter, are confronting both mentally and sexually. Provoking the audience subconsciously, this psychoanalytical phenomenon can be further appreciated through a combination of feminist and psychoanalytical theory. Through which we are able to pull apart the pivotal role of the “mother”, most famously in the cinematography of Alfred Hitchcock.... [tags: Psycho, Norman Bates, Alfred Hitchcock]
2445 words (7 pages)
- ... This raised the question of why a woman would love a man who doesn’t love her back. In 1954, this was not the context that men and women were seen or depicted in television or film. What can be implied about Jeff’s sexual orientation from the framed windows of the newlyweds, the musician, Miss Lonely-hearts, Miss Torso and Lars Thorwald, is that they may represent a compartmentalized sense of self that comprises Jeff’s individual identity. What can further be implied about Jeff’s sexual orientation from the cast of characters that he interacts with while recovering from a broken leg may come from Jeff’s nurse Stella telling Jeff, ‘You have a woman deficiency.’ On the surface Lisa and Je... [tags: Alfred Hitchcock, Psycho, Norman Bates]
712 words (2 pages)
- Alfred Hitchcock masters the art of storytelling, framing every shot carefully to help further the plot and develop characters. The techniques of visual storytelling that Hitchcock implements in his films are not just meant to entertain; they all serve specific purposes in building his fictional universes. Hitchcock establishes the personalities of his characters by showing exactly what the characters see and hear as well as their reactions to their surroundings. Along with point-of-view shots, Hitchcock employs montage editing, creating suspense and further allowing characters to be seen as multi-faceted beings.... [tags: Alfred Hitchcock, Psycho, Norman Bates, Psycho II]
775 words (2.2 pages)
- ... Norman is shocked knowing what his mother has done, so he cleans up the mess. As the story progresses. There is another killing. Norman gets a call from the sheriff. He carried his mother to the cellar. Hoping no one will find her, he proceeds with caution. The end goes as Marion’s sister, Lila, starts to be attacked by a woman with the knife. Sam comes and stops the woman. Surprise. It’s Norman not his mother. His mother has been dead the whole time. The ending scene occurs in the police station.... [tags: Psycho, Norman Bates, Alfred Hitchcock]
1379 words (3.9 pages)
- Sir Alfred Hitchcock is recognised as one of the most pioneering and renowned directors in the history of cinema (Hockensmith A, 2012). His cinematic style that favours the use of suspense over surprise has become iconic and influential in modern film. Hitchcock’s early days as an assistant director at the UFA Babelsberg Studios in Berlin (German Expressionism, 2007), had a lasting impact on some of his later works produced in Hollywood. During Hitchcock’s time in Germany he became fascinated with German Expressionism.... [tags: Alfred Hitchcock, Psycho, Norman Bates, Saul Bass]
1127 words (3.2 pages)
- The Fears Created from the Film Psycho 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.... [tags: Alfred Hitchcock, Psycho, Norman Bates]
1281 words (3.7 pages)
- The movie Psycho was created in 1960, and directed by Alfred Hitchcock. This film has many meaningful moments behind it, which all lead up to a shocking yet interesting twist for an ending. 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 people’s interests.... [tags: Alfred Hitchcock, Psycho, Norman Bates]
1268 words (3.6 pages)
- From the opening seconds, when Alfred Hitchcock’s camera closes in from afar on a private lunchtime rendezvous, Psycho makes clear that its focus is on the secretive and reserved. This scandalous scene is the first of many that initiates the viewer to the notion that beneath the surface lays a distorted and crudely reticent domain. Hitchcock seems determined to trick the audience, delightfully subverting character tropes and conventional setting as the plot descends further into darkness. This high-strung thriller may at first glance appear nothing more than a simple murder mystery, but on closer examination the film makes an argument for a lurking, sinister omnipresence.... [tags: Psycho, Norman Bates, Alfred Hitchcock, Ed Gein]
1170 words (3.3 pages)
- Ethical Issues in End-of-Life Decisions
- Diference in Writing Man’yōshū and Kokinshū
- UK Health Services Not Meeting the Needs to Identify Specific Health Measures for Gay and Bisexual Men
- More than Just Newton and the Apple
- Man’yōshū and Kokinshū National Pride and Identity
- The Meaning of Mental Health and Ill-health