Psycho (1960) Director: Alfred Hitchcock. Plot Marion Crane, office worker, steals $40,000 and flees Phoenix to be with her debt ridden boyfriend in California.

Psycho (1960)Psycho (1960)

Director: Alfred HitchcockDirector: Alfred Hitchcock

PlotPlot Marion Crane, office worker, steals $40,000 and flees Marion Crane, office worker, steals $40,000 and flees

Phoenix to be with her debt ridden boyfriend in Phoenix to be with her debt ridden boyfriend in California. On the way she stops at the Bates Motel California. On the way she stops at the Bates Motel where she meets Norman Bates. Norman’s “mother” where she meets Norman Bates. Norman’s “mother” murders Marion. Soon after, Marion’s sister arrives in murders Marion. Soon after, Marion’s sister arrives in California with a private detective following her. California with a private detective following her. Arbogast, the detective, follows the clues to the Bates Arbogast, the detective, follows the clues to the Bates Motel and is murdered by Norman’s “mother”. Marion’s Motel and is murdered by Norman’s “mother”. Marion’s sister and Sam approach the local police chief and sister and Sam approach the local police chief and discover Norman’s mother has been dead for years. discover Norman’s mother has been dead for years. They go to bates motel in search of Marion where They go to bates motel in search of Marion where Norman’s mother attempts to murder Marion’s sister but Norman’s mother attempts to murder Marion’s sister but is stopped by Sam. They then discover that the mother is stopped by Sam. They then discover that the mother is in fact Norman’s alter ego.is in fact Norman’s alter ego.

Key charactersKey characters

Marion Crane: Marion Crane: Janet LeighJanet LeighLila Crane: Lila Crane: Vera MilesVera MilesSam Loomis: Sam Loomis: John GavinJohn GavinMilton Arbogast: Milton Arbogast: Martin BalsamMartin BalsamNorman Bates: Norman Bates: Anthony PerkinsAnthony Perkins

SettingSetting

Opening scenes take place in Phoenix, Opening scenes take place in Phoenix, Arizona but quickly moves to California.Arizona but quickly moves to California.

The time and place are clearly established The time and place are clearly established by the screen titles.by the screen titles.

Opening SequenceOpening Sequence The opening of a film is often the most critical part of the film. This The opening of a film is often the most critical part of the film. This

is where the audience expectations are set up. What narrative is where the audience expectations are set up. What narrative possibilities are established in the opening of Psycho? What could possibilities are established in the opening of Psycho? What could be about to happen? Why do you think this?be about to happen? Why do you think this?

Consider the following:Consider the following:

TitlesTitles

MusicMusic

Camera movementCamera movement

LightingLighting

DialogueDialogue

Opening cont’Opening cont’ TitlesTitles: : From the outset the audience is put on From the outset the audience is put on

edge. The titling is quick moving and harsh. At edge. The titling is quick moving and harsh. At points the titles are jagged and split horizontally, points the titles are jagged and split horizontally, then rejoined. This could possibly insinuate that then rejoined. This could possibly insinuate that the Psycho has a split personality.the Psycho has a split personality.

MusicMusic: : Bernard HerrmannBernard Herrmann wrote the score for wrote the score for the film.the film. The music in the opening is full of harsh The music in the opening is full of harsh and abrupt strings which seem to set a one and abrupt strings which seem to set a one dimensional, yet suspenseful tone. The score is dimensional, yet suspenseful tone. The score is composed with ONLY strings in the orchestra. composed with ONLY strings in the orchestra. Apparently Herrmann chose this as he felt it Apparently Herrmann chose this as he felt it complemented the B&W film by having less complemented the B&W film by having less dimensions to it.dimensions to it.

Opening cont’Opening cont’ Camera movement:Camera movement: The camera is quite The camera is quite

voyeuristic. It pans slowly across the rooftops voyeuristic. It pans slowly across the rooftops until it begins zooming towards a window of a until it begins zooming towards a window of a darkened room, hesitating at points as if peeking darkened room, hesitating at points as if peeking in on a secret. It moves from the normal city in on a secret. It moves from the normal city atmosphere to the abnormal world of anxiety and atmosphere to the abnormal world of anxiety and shady love between two unfree people. This shady love between two unfree people. This camera movement could seen to be a metaphor camera movement could seen to be a metaphor of the flow of the film which moves steadily from of the flow of the film which moves steadily from the normal deeper and deeper into the abnormal.the normal deeper and deeper into the abnormal.

Opening cont’Opening cont’

Setting:Setting: The city location and time is The city location and time is clearly established in the captions. The clearly established in the captions. The change from the brightly lit, bustling city to change from the brightly lit, bustling city to an unknown, murky and seedy darkness; an unknown, murky and seedy darkness; from the very public to the very intimate from the very public to the very intimate was what Hitchcock intended. Hitchcock was what Hitchcock intended. Hitchcock was known for making metaphorical was known for making metaphorical statements in the opening shot.statements in the opening shot.

Opening cont’Opening cont’

Lighting:Lighting: The lighting in the hotel room is dim, The lighting in the hotel room is dim, yet gentle, perhaps representative of the yet gentle, perhaps representative of the secrecy of their relationship. There are no harsh secrecy of their relationship. There are no harsh shadows. Their conversation is based about shadows. Their conversation is based about Marion’s frustration with the secrecy of their Marion’s frustration with the secrecy of their relationship. When Sam agrees that they need relationship. When Sam agrees that they need to be more public he opens the venetian blind, to be more public he opens the venetian blind, flooding the room with light. The light is used flooding the room with light. The light is used symbolically to highlight the announcement that symbolically to highlight the announcement that this relationship can now be public.this relationship can now be public.

Opening cont’Opening cont’

Dialogue:Dialogue: The dialogue in the opening scene The dialogue in the opening scene primarily alerts the audience to the predicament primarily alerts the audience to the predicament of Marion and Sam. Both are indebted to of Marion and Sam. Both are indebted to someone and deprived of their freedom. For someone and deprived of their freedom. For Sam it’s about money, for Marion it’s about the Sam it’s about money, for Marion it’s about the constricts of her mother’s opinion. In a way this constricts of her mother’s opinion. In a way this being dominated by people of the past being dominated by people of the past foreshadows what is to unfold at the Bates motel. foreshadows what is to unfold at the Bates motel. Notable quotes from Marion “…when your time is Notable quotes from Marion “…when your time is up”, “Sam – this is the last time” and “I pay, too”up”, “Sam – this is the last time” and “I pay, too”

Character developmentCharacter development

How have production elements been used How have production elements been used to to developdevelop two of the characters in two of the characters in Psycho? You must address the following:Psycho? You must address the following:

Dress/AppearanceDress/Appearance

Visual CompositionVisual Composition

LightingLighting

Sound/DialogueSound/Dialogue

Marion CraneMarion Crane

Marion cont’Marion cont’ Dress/Appearance:Dress/Appearance: Marion is depicted as an Marion is depicted as an

attractive, respectable, yet desirable young woman. attractive, respectable, yet desirable young woman. In the opening scene she is wearing nothing but In the opening scene she is wearing nothing but white underwear; white being a symbol of good. In white underwear; white being a symbol of good. In the next scene she is dressed in respectable the next scene she is dressed in respectable business attire, which may reinforce the perception business attire, which may reinforce the perception that she is a responsible and respected person. In that she is a responsible and respected person. In the next scene, when packing the suitcase, she is the next scene, when packing the suitcase, she is shown in black underwear; a symbol of evil, or in shown in black underwear; a symbol of evil, or in opposition to good. This highlights the inner struggle opposition to good. This highlights the inner struggle she is facing in regards to stealing the money. she is facing in regards to stealing the money. Hitchcock believed everyone had both good and evil Hitchcock believed everyone had both good and evil traits which he wanted to demonstrate in Marion. traits which he wanted to demonstrate in Marion. When she is preparing to steal the money she is When she is preparing to steal the money she is dressed in clothing relevant to her state of mind.dressed in clothing relevant to her state of mind.

Marion cont’Marion cont’ Visual Composition: Visual Composition: Marion’s character, despite Marion’s character, despite

a momentary lapse of reason, is a good person and a momentary lapse of reason, is a good person and a victim of circumstance. In the parlour scene we a victim of circumstance. In the parlour scene we see her cleverly portrayed as the victim in the see her cleverly portrayed as the victim in the relationship between her and Norman. Marion’s relationship between her and Norman. Marion’s surroundings are soft, gentle and rounded including surroundings are soft, gentle and rounded including the small stuffed birds. She placed so that she is the small stuffed birds. She placed so that she is facing the camera, at eye level, front on and there is facing the camera, at eye level, front on and there is nothing to hide. Hitchcock seems to be portraying nothing to hide. Hitchcock seems to be portraying her as redeemable. This is a stark contrast to the her as redeemable. This is a stark contrast to the way in which Norman is shot in the very same way in which Norman is shot in the very same scene.scene.

Juxtaposition of charactersJuxtaposition of characters

Marion is shot from the front, Marion is shot from the front, suggesting openness and suggesting openness and honesty. Everything near her is honesty. Everything near her is rounded and soft. The small rounded and soft. The small stuffed birds may be symbolic of stuffed birds may be symbolic of the relationship between her the relationship between her and Norman.and Norman.

Notice the placement of large Notice the placement of large birds of prey surrounding him. birds of prey surrounding him. He is placed at an angle to the He is placed at an angle to the camera so part of his face is camera so part of his face is obscured, suggesting something obscured, suggesting something hidden. Other objects in the shot hidden. Other objects in the shot are angular and harsh.are angular and harsh.

Marion cont’Marion cont’ Lighting: Lighting: If we continue to focus on the parlour If we continue to focus on the parlour

scene we see that Hitchcock has lit Marion in a scene we see that Hitchcock has lit Marion in a way that she seems almost glowing with way that she seems almost glowing with wholesomeness. She is evenly light by soft light wholesomeness. She is evenly light by soft light which create almost no shadow at all. Despite the which create almost no shadow at all. Despite the fact that she has embezzled forty thousand dollars fact that she has embezzled forty thousand dollars from her employer, she is not hidden in shadows from her employer, she is not hidden in shadows of evil or consumed by the darker side of her of evil or consumed by the darker side of her nature. Leaving Marion in light indicates that nature. Leaving Marion in light indicates that redemption is possible. Indeed, at the conclusion redemption is possible. Indeed, at the conclusion of the scene, Marion has done an about face. of the scene, Marion has done an about face.

Marion cont’Marion cont’ Sound/Dialogue: Sound/Dialogue: Although Hitchcock tends to Although Hitchcock tends to

tell a story visually rather than with dialogue the tell a story visually rather than with dialogue the conversation between Sam and Marion in the conversation between Sam and Marion in the motel room develops Marion’s moral dilemma as motel room develops Marion’s moral dilemma as a character. Marion is portrayed as a good a character. Marion is portrayed as a good character and not in a sleazy way, despite their character and not in a sleazy way, despite their surroundings. The conversation develops Marion surroundings. The conversation develops Marion as a character that wants to do the right thing as a character that wants to do the right thing although circumstances are preventing her although circumstances are preventing her achieving her goals. achieving her goals.

Norman BatesNorman Bates

Norman cont’Norman cont’

Dress/Appearance: Dress/Appearance: When we first meet When we first meet Norman there is nothing particularly unusual Norman there is nothing particularly unusual about his dress. He is dressed very neat and tidy about his dress. He is dressed very neat and tidy which may indicate to the audience that he is a which may indicate to the audience that he is a normal person. Hitchcock probably did this normal person. Hitchcock probably did this intentionally so the revelation that he was intentionally so the revelation that he was actually quite disturbed was more of a shock. actually quite disturbed was more of a shock. The only clue to his character is that he is The only clue to his character is that he is usually dressed in dark clothing which contrasts usually dressed in dark clothing which contrasts with the lighter clothing which Marion wears. with the lighter clothing which Marion wears. Darker clothing perhaps being symbolic of his Darker clothing perhaps being symbolic of his evil nature.evil nature.

Norman cont’Norman cont’ Visual composition: Visual composition: We begin to grow suspect of We begin to grow suspect of

Norman as the visual composition of shots including Norman as the visual composition of shots including Norman lead us towards this conclusion. In the Norman lead us towards this conclusion. In the parlour scene Norman is framed with large, ominous parlour scene Norman is framed with large, ominous birds of prey surrounding him to give him a birds of prey surrounding him to give him a menacing look. The use of angular objects about menacing look. The use of angular objects about him suggest danger. If we look closely we can see him suggest danger. If we look closely we can see the paintings in shot are of women being attacked. the paintings in shot are of women being attacked. The fact that Norman is in a way that we can’t see The fact that Norman is in a way that we can’t see his whole face also infers that there is something his whole face also infers that there is something hidden or sinister. This composition is enhanced by hidden or sinister. This composition is enhanced by the low key lighting creating harsh shadow.the low key lighting creating harsh shadow.

Painting behind NormanPainting behind Norman

The painting on the right is of particular significance The painting on the right is of particular significance as it hides the peephole Norman uses to spy on as it hides the peephole Norman uses to spy on Marion. The painting is Marion. The painting is Ruben’s Ruben’s Susannah & the Susannah & the EldersElders. A painting based on a biblical tale of two . A painting based on a biblical tale of two elders who spy on the innocent Susannah as she elders who spy on the innocent Susannah as she is about to bathe outdoors and then pounce on her. is about to bathe outdoors and then pounce on her. They violate Susannah’s moment of relaxation They violate Susannah’s moment of relaxation much in the same way that Norman violates much in the same way that Norman violates Marion’s privacy. Like Norman towards Marion, the Marion’s privacy. Like Norman towards Marion, the two elders felt lust for Susannah but were ashamed two elders felt lust for Susannah but were ashamed of it.of it.

Susannah & the EldersSusannah & the Elders

Norman cont’Norman cont’

Lighting:Lighting: The lighting on Norman in the parlour The lighting on Norman in the parlour scene is particularly effective. The contrast scene is particularly effective. The contrast between the way Marion is lit and Norman is lit is between the way Marion is lit and Norman is lit is very suggestive of their roles. Norman is clearly very suggestive of their roles. Norman is clearly presented as the predator and Marion the innocent presented as the predator and Marion the innocent prey. Norman is lit with a low level key light to prey. Norman is lit with a low level key light to create a sinister look. Both Norman and the stuffed create a sinister look. Both Norman and the stuffed birds create harsh shadows on the wall. Parts of birds create harsh shadows on the wall. Parts of Norman’s face are darkened, suggesting an Norman’s face are darkened, suggesting an unknown element to his character. He looks unknown element to his character. He looks particularly menacing in this scene.particularly menacing in this scene.

Norman cont’Norman cont’ Sound/Dialogue:Sound/Dialogue: The dialogue between Norman The dialogue between Norman

and Marion in the parlour scene reveals a great and Marion in the parlour scene reveals a great deal about Norman’s character. We learn that he deal about Norman’s character. We learn that he spent most of his life living alone with his mother. spent most of his life living alone with his mother. The mother as an overbearing character that The mother as an overbearing character that seems to restrict his development. Phrases such seems to restrict his development. Phrases such as “a mother is a boy’s best friend” lets us know as “a mother is a boy’s best friend” lets us know that he is a reclusive sort of character. When that he is a reclusive sort of character. When Marion suggests his mother may be better in an Marion suggests his mother may be better in an institution his dialogue suggests that he may know institution his dialogue suggests that he may know what the inside of an institution is like and suggests what the inside of an institution is like and suggests that he is psychologically unstable.that he is psychologically unstable.

Cause & Effect Cause & Effect

Narrative is all about cause and effect. Narrative is all about cause and effect. Without it, narrative would not exist. Cause Without it, narrative would not exist. Cause and effect provides the reason for the plot and effect provides the reason for the plot and feed character motivation. It implies and feed character motivation. It implies narrative progression from an initial event narrative progression from an initial event that triggers a narrative through a seriese of that triggers a narrative through a seriese of linked events that develop the plot through linked events that develop the plot through to a resolution.to a resolution.

Cause & EffectCause & Effect

A narrative generally begins with a A narrative generally begins with a situation, then a series of changes occur situation, then a series of changes occur according to a pattern of cause and effect.according to a pattern of cause and effect.

With reference to Psycho, discuss With reference to Psycho, discuss two two examples to show how cause and effect examples to show how cause and effect contributes to the way the narrative has contributes to the way the narrative has been set out or organisedbeen set out or organised. .

Cause & effect.Cause & effect. Sam owes money and cannot afford to Sam owes money and cannot afford to

support Marion support Marion (Cause)(Cause) Marion is tempted by the $40,000 and in a Marion is tempted by the $40,000 and in a

moment of weakness steals it and runs moment of weakness steals it and runs towards Sam towards Sam (Effect)(Effect)

Marion finds it difficult to see during a Marion finds it difficult to see during a rainstorm and leaves the main road to rainstorm and leaves the main road to arrive at the Bates motel arrive at the Bates motel (Cause)(Cause)

Marion meets Norman and is murdered Marion meets Norman and is murdered within several hours within several hours (Effect)(Effect)

Cause & EffectCause & Effect

Can you create a flow chart for the series Can you create a flow chart for the series of events that structures the storyline?of events that structures the storyline?

At each point in the plot where cause and At each point in the plot where cause and effect are employed what other scenarios effect are employed what other scenarios could have been presented?could have been presented?

Select a sequence from Select a sequence from PsychoPsycho and discuss and discuss with examples how any with examples how any fourfour of the following of the following elements elements contributed to the effectivenesscontributed to the effectiveness of that of that sequence.sequence.

• Camera/Film techniques.Camera/Film techniques.• Sound (music, dialogue, sfx, voice over).Sound (music, dialogue, sfx, voice over).

• EditingEditing• Developing storyline.Developing storyline.

• Character developmentCharacter development• Creating suspenseCreating suspense

Parlour SequenceParlour Sequence Camera/Film technique:Camera/Film technique: Camera positioning Camera positioning

and framing in this scene gives the audience an and framing in this scene gives the audience an indication of where the power lies between Marion indication of where the power lies between Marion and Norman. Shooting Norman from a low angle and Norman. Shooting Norman from a low angle enhances the feeling the audience gets that he is enhances the feeling the audience gets that he is the dominant character. This is particularly the dominant character. This is particularly effective as Marion is shot at eye level, making her effective as Marion is shot at eye level, making her appear more natural and encouraging the audience appear more natural and encouraging the audience to engage with her rather than Norman. Most of the to engage with her rather than Norman. Most of the shots are MS although we punch in to a close up shots are MS although we punch in to a close up as Norman begins to get agitated. This is effective as Norman begins to get agitated. This is effective in reinforcing our suspicion of Norman.in reinforcing our suspicion of Norman.

Parlour SequenceParlour Sequence Sound:Sound: Herrmann’s score is largely unobtrusive Herrmann’s score is largely unobtrusive

through this sequence, only becoming noticeable through this sequence, only becoming noticeable when Norman begins to get agitated. This change when Norman begins to get agitated. This change in the music enhances the sense of weariness the in the music enhances the sense of weariness the audience feels about Norman. This is coupled with audience feels about Norman. This is coupled with the aggressive tone and content of his dialogue at the aggressive tone and content of his dialogue at this point to make the sequence more effective. this point to make the sequence more effective. Marion’s tone is calm and gentle. The questions Marion’s tone is calm and gentle. The questions she asks Norman seem innocent which not only she asks Norman seem innocent which not only enhance the idea that she is redeemable at this enhance the idea that she is redeemable at this point but also serve to highlight the Norman’s point but also serve to highlight the Norman’s aggressive behaviour.aggressive behaviour.

Parlour SequenceParlour Sequence EditingEditing: : Although much of the story is told using Although much of the story is told using

long, voyeuristic shots with little editing in this long, voyeuristic shots with little editing in this sequence Hitchcock engages the audience with sequence Hitchcock engages the audience with the use of a SRS sequence between Norman the use of a SRS sequence between Norman and Marion. The SRS (Shot Return Shot) and Marion. The SRS (Shot Return Shot) technique makes the sequence more effective technique makes the sequence more effective as the audience is able to see each of the as the audience is able to see each of the character’s emotions and reactions to each character’s emotions and reactions to each other. It also serves to make the film more other. It also serves to make the film more visually interesting as we are constantly visually interesting as we are constantly reminded of the different angles the characters reminded of the different angles the characters are being shot from.are being shot from.

Parlour SequenceParlour Sequence Developing Storyline: Developing Storyline: This is an important sequence This is an important sequence

in the development of the storyline. Throughout the in the development of the storyline. Throughout the film Marion is depicted as a “good” person who film Marion is depicted as a “good” person who suffered a momentary lapse of reason. The dialogue suffered a momentary lapse of reason. The dialogue and production elements in this sequence portray and production elements in this sequence portray her as redeemable; she has reverted to her normal her as redeemable; she has reverted to her normal self and will return to Phoenix to face the self and will return to Phoenix to face the consequences. In contrast to this the seemingly consequences. In contrast to this the seemingly clean cut, well mannered Norman is beginning to clean cut, well mannered Norman is beginning to develop an evil side. His dialogue and the way develop an evil side. His dialogue and the way production elements are presenting him causes the production elements are presenting him causes the audience to be wary. The production of this audience to be wary. The production of this sequence is an effective way to convey the turn in sequence is an effective way to convey the turn in the storyline to the audience. The story is moving the storyline to the audience. The story is moving from being about Marion fleeing with the money and from being about Marion fleeing with the money and focusing on this suspicious new character, Norman.focusing on this suspicious new character, Norman.

Parlour SequenceParlour Sequence Character developmentCharacter development: : After 10 slide After 10 slide

discussion on this earlier in the presentation I am discussion on this earlier in the presentation I am not going to repeat it. not going to repeat it.

Refer to the question on how production elements Refer to the question on how production elements develops characters.develops characters.

Parlour SequenceParlour Sequence Creating Suspense:Creating Suspense: The creation of suspense in The creation of suspense in

this sequence comes from the development of this sequence comes from the development of Normans character. Prior to this point the focus of Normans character. Prior to this point the focus of the film was the money. Suspense was created the film was the money. Suspense was created around it. The camera constantly reminding us where around it. The camera constantly reminding us where the money was. In this sequence the money seems the money was. In this sequence the money seems to be almost forgotten and the director is building to be almost forgotten and the director is building suspense around Norman. This is particularly suspense around Norman. This is particularly effective as this is approximately where the “second effective as this is approximately where the “second part” of the movie begins and the audience forgets part” of the movie begins and the audience forgets about the money and the suspense created by about the money and the suspense created by Marion stealing it. The suspense is now focused on Marion stealing it. The suspense is now focused on this new character and his “mother”.this new character and his “mother”.