Hitchcock's Psycho
Hitchcock had to make Psycho in a time of very strict censorship in
the USA. To get the film to the maximum audiences without having to
change his ideas he showed in the film, Hitchcock used devious
techniques to get past the strict censors. Janet Leigh (the actress
playing Marion) said in an interview that she thought the strict
censorship rules made Hitchcock a better filmmaker, as he had to be
more creative. This is a good point as if you have a film were there
is a killer running around killing people with blood and guts
everywhere it can get boring after a while since you're seeing the
same thing repeatedly. Whereas if you have to be more creative in the
way you make a film and people are murdered this comes across to the
audience and makes it more entertaining. This can be proved true as
Tarantino is often criticised for relying on killings, violence, sex,
and drug taking instead of using character development so we know more
about them. In "Pulp Fiction" for instance you are distracted by the
vivid killings, violence, sex, and drug taking, which takes place in
almost every scene, and you never get to know the characters that
well. You also don't get the same witty conversation as you do in
Hitchcock films although there is humour in what the characters say in
"Pulp Fiction" at times, for instance when they are robbing the
restaurant or when John Travolta & Samuel L. Jackson are talking about
what burgers are called in France. This lack of character development
does make the characters seem more cartoon like.
To make it seem like he was co-operating with the censors Hitchcock
would add in scenes that w...
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... are now a lot less strict it was
disappointing at times as I'm used to the movies of today were there
is a lot more Sex, Nudity, & Violence. At the first scene for an
audience today you'd expect to seem Marion & Sam having sex or Marion
topless. In the shower scene you'd expect to see Marion nude and the
knife going into her and blood everywhere and her guts clearly visible
like in films such as scream and the film would be in colour. This
would make the film more visual but that wouldn't necessarily be
better as it would leave a lot less to your imagination. I can see how
it has survived all these years as a Film icon and it shows how modern
day films could be if they used more taste and less flesh. Psycho
however is still
considered a good film by audiences today as it is still grossing a
huge amount of money.
Rear Window and the works of Hopper are both required with confinement. Disregarding its blended utilize land setting, Early Sunday Morning does not pass on a warm, fluffy feeling of group. In like manner, in Rear Window, the inhabitants of the lofts are confined from each other. Apartment Houses is additionally for the most part viewed as another antecedent to Rear Window. Large portions of Hopper's night settings portray scenes from New York City and Night Windows is no special case. The lady in this work of art is totally unconscious of the stage she is on and the front line situate its eyewitness involves. Its semi-sexual story is resounded in Rear Window, and it catches strikingly the experience of living in New York: the a large number
Frank Baums, The Wizard of Oz is arguably one of the most popular films made. Even though it was released in 1939, nearly three-quarters of a century ago, the film continues to entertain audiences and speak to them in a personal way. The question that comes to the mind when analyzing this film is: What is it about this film that gives it such timelessness? When reflecting on the film’s timeless qualities, it seems clear the plot is one of the things that enable it to maintain its relevance. Primarily, the plot of The Wizard of Oz is timeless because it is such an excellent example of the heroic journey, both in literally and cinematically. This journey of self-awareness is a metaphor for growth, which is something we all search to discover at some time in our lives.
Review of Dr. Strangelove, Or: How I learned to Stop Worrying and Love the Bomb (1964)
The human body and mind are the most complex and intricate tools known to man. The connection between the two are remarkable, the way body feels pain and the mind is able to understand from where and how the pain is being formed, the way the body lags and drops when the mind does not have enough sleep and rest. Most curiously, it is the way our body and mind speak to each other without really knowing. It is the uncomfortable feeling in your chest, the tenseness of your shoulders and the goose-bumps on your arms that are the very basics of human intuition. Intuition is knowing something without having a logical or reasonable explanation to follow the feeling. But it is when our intuition overcomes our ability to think that we become paranoid; constantly looking over our shoulders, noticing people and objects that were never noticed before, and having this retching feeling that someone is out to get you. Paranoia is a thought process where anxiety and fear accumulate to the point where the person suffers from irritation and delusions. It is often developed through an inner guilty conscience which threatens the self. It is that exact tingling sensation in your stomach, the tightness in your throat and the eerie feeling that you are being watched that makes James and Hitchcock's pieces realistically fantastical. The alternate worlds illustrated in these pieces are not of those of dreams and fairy tales, nor those people superheroes or chimeras, but a realist world, where the minds of the characters are exposed and the only source of reliability. James depicts a young woman who struggles to be a heroine for her wards, only to be torn between the lines of sanity as she questions the existence of two ghosts, while Hitchcock’s psycho can ...
In Alfred Hitchcock’s Rear Window, L.B. Jeffries, played by Jimmy Stewart, becomes completely obsessed with spending all of his waking hours watching his neighbors from his wheelchair. He even uses a camera to better his view and thus enhances his role as both a spectator and a voyeur. This contributes to the creation of a movie being played right outside Jeffries’ window. In this “movie within the movie” his neighbors’ lives become the subject for the plot. Each window represents a different film screen, each which is focused upon only when Jeffries directs his attention to it. He witnesses both the anxieties associated with the beginning of a marriage and the heartache of relationships ending. The plots that are played out before his eyes become more important than his own personal life. In fact, Jeffries renounces the idea of marriage due to the scenes he witnesses from within his apartment. This is displayed by his initial rejection of the beautiful Lisa Freemont, played by Grace Kelly. She is unable to divert Jeffries’ attention from the window even with the most forward flirtations. It is not until she puts herself on the other side and into the “movie” that he becomes interested in her. Lisa finally becomes the subject of the gaze and only then does Jeffries show any sexual attraction towards her. When Lisa breaks into Thorwald’s apartment, Jeffries does not see the same Lisa he saw when she stood by him and sat in his lap. He now looks upon a “guilty intruder exposed by a dangerous man threatening her with punishment” (Mulvey 207). He is aroused by this new spontaneous side of her. From this scene we see that Lisa Freemont cannot become a part of the movie until she becomes a character in the “movie within the movie.” This creates a new perception of Lisa for Jeffries and clears away many of his marriage anxieties, providing closure to their dispute and foreshadowing a relationship and eventually a marriage between the two.
to show the genre of the film and how it is meant to be perceived. All
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.
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
As a filmmaker, whose individual style and complete control over all elements of production, Alfred Hitchcock implied a great deal in the motion pictures that he made.
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.
Ingrid Bergman and Gregory Peck star in this mystery/thriller that dabbles in psycho-analysis and the troubles of the mind. Constance Peterson is a renowned psycho-analyst, whose ability to analyze data is unquestionable, but who has no life outside of her work. This all changes the day the new Chief of Staff, Dr. Edwardes (Peck) arrives. It is love at first site, and Constance’s barriers break down in a flash.
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.
Stanley, Robert H. The Movie Idiom: Film as a Popular Art Form. Illinois: Waveland Press, Inc. 2011. Print
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