Key words: id, ego, superego, close reading, figurative language, Oedipal conflict, developmental stage, Are we psycho? From the very beginning of the film “Psycho”, Hitchcock brings the audience into suspense as to what is going on behind the window of the hotel. The first scene takes us through the city of Phoenix, which represents “a mythical bird that is reborn from the ashes of fiery death”, and we see through this “mythical bird” a foreshadowing of Norman’s mother’s rebirth after he kills her. From guilt or to not get caught, Norman turns himself into her to bring her back to life (Jay). We go further in watching the camera scan the buildings in bird’s-eye view, which again represents the mythical bird. It takes focus on one window, …show more content…
All three are represented through Marion Crane’s character in the film. Hitchcock represent the id – “devoted solely to the gratification of prohibited desires of all kinds…without an eye to consequences”– in Marion when she walks off with the $40,000 her boss told her to bring to the bank (Tyson 25). Marion was only looking for the pleasure that the money would give her and her poor lover Sam, without thinking about the consequences of her actions. In the beginning, we watch Marion dressed in white, – Hitchcock’s intent to show her as innocent – and after she steals the money from her boss, she is seen in black while packing to escape; implying that she is now wrong-doing. The superego—"internalization of cultural taboos—shows that”—which is represented through Marion when she has conversations in her head with the people she hurt for stealing the money (Tyson 25). Though she has these conversations playing in her head, she chooses to continue to run with the money. Marion’s ego – “the conscious self that experiences the external world through the senses and is the source of our self-image and feeling of stability – tries to play the referee between the id and superego…”— couldn’t control her ego, because of the id and superego, which ended with her choosing to run off with the money and live a new life. As the audience, we don’t hate Marion for stealing the money, we sympathize with …show more content…
The voices in Marion’s head signify that she is under pressure; having an internal conflict for the crime she has committed. The camera focuses on her frightened facial expressions, which Hitchcock uses many times with her; instead of the use of words. As the audience, we can decipher that she is scared and having this issue in her head through her expressions. When Marion drives to escape from anyone realizing that she has taken the money, Hitchcock uses foreshadowing through the dark rainy night. This represents that something bad is going to happen to our innocent Marion. Hitchcock’s use of figurative language, with the dark rainy night when Marion is driving and can’t see, symbolizes the moment in which Marion is going to be murdered and she doesn’t see it coming. It can also symbolize the internal conflict she is having for taking the money, which enables her to come up with conversations in her head with the people she has hurt when she decided to steal the money and run
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.
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.
Now we will address a few of these from the film. First, Drawing parallels between characters with a difference, usually a negative one, is a repeated concept in Hitchcock films. Such as in the film “Strangers On a Train”, where Bruno ends up killing Guys’ wife while Guy had himself been desiring to be rid of her somehow. Here in “Rear Window” early in the film we can see this between Lisa and Jeff to Thorwald
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.
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.
In both productions, fear was a critical element in the story line and subtle techniques were used to convey this. In ‘Psycho’, Alfred Hitchcock used strategic camera angles and shots throughout the film to position the viewer to understand the relationships between the characters. An example of an effective camera angle is the notorious parlor scene where Norman Bates invited Marion Crane in to converse. As they are speaking, the tension between them is high and while the focus was purely on the two, the surrounding environment of the parlor portrays a much deeper and more disturbing scene. By this stage in the film, Norman was categorised as an awkward yet polite young man and
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.
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.
Everybody knows Alfred Hitchcock is the master of suspense and is known for inciting fear in the hearts of his audience. His multiple, fast cuts directs his audience to what he wants them to see and feel. Close-ups of the actors faces clearly shows what the characters are feeling and forces the audience to feel the same emotions. With all his expert directing skills, is there any meaning behind what he chooses to portray in his films or is it all for show? Could there be a deeper meaning to his films? The answer to these questions is a firm yes. Hitchcock’s past experiences guided him to be the director he was. The inadequateness of the police, control of all details in his films, and long stretches of no dialogue all portrayed in his films are all directly correlated to Hitchcock’s early life and early professional life.
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.
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.”
Through his choice of setting, camera angles and lighting, Hitchcock makes the conversation at the bar a pivotal scene. The audience and young Charlie are finally brought into Uncle Charlie’s world. This scene’s contrast to the stereotypical American town is what makes this scene so important. Even though Uncle Charlie was able to conceal his true self from most of Santa Rosa, a few people saw him for what he really was. Just like there is a bar in every American town, there is evil as well.
According to psychologist, Sigmund Freud, there are three main parts that make up a human’s personality: the id, ego, and superego. In the novel One Flew Over the Cuckoo’s Nest by Ken Kesey, the narrator of the story, Chief Bromden, represents each of these traits. In the beginning, Bromden only thinks of himself as any other crazy man, who no one pays attention to, but throughout the story Bromden develops mentally through all three stages of Freud’s personality analysis, maybe not in Freud’s preferred order, but he still represents them all.
Alfred Hitchcock’s favorite subject was the superficial placidity of American life, whose clean, bright surfaces disguised the most shockingly moral, political, psychological and sexual aberrations. For Hitchcock, the most striking, funny, and terrifying quality of American life was its confidence in its sheer ordinariness. Beneath the surface, ordinary people and normal life were always ‘bent’ for Hitchcock.
Sigmund Freud’s psychoanalytic theory was based on the opinion that human personality is made up of three components: the id, ego and superego. These three components are arranged along a hierarchy order with the id at the basal end, the ego in the middle and the super ego at the pinnacle. The id at the base, seeks instantaneous pleasure and fulfillment, driven by the pleasure principle. The id wants what it wants, when it wants it; regardless of whether or not it is possible to satisfy that particular want or need. The presence or logics of reality or societal behavior has no effect on the id. For example, if an infant is thirsty and sees a bottle of water he will take the bottle and drink even if it belonged to someone else and he did not