1. Psycho (1960) Director: Alfred Hitchcock

2. Plot Marion Crane, office worker, steals $40,000 and flees Phoenix to be with her debt ridden boyfriend in California. On the way she stops at the Bates Motel where she meets Norman Bates. Norman’s “mother” murders Marion. Soon after, Marion’s sister arrives in California with a private detective following her. Arbogast, the detective, follows the clues to the Bates Motel and is murdered by Norman’s “mother”. Marion’s sister and Sam approach the local police chief and discover Norman’s mother has been dead for years. They go to bates motel in search of Marion where Norman’s mother attempts to murder Marion’s sister but is stopped by Sam. They then discover that the mother is in fact Norman’s alter ego. Marion Crane, office worker, steals $40,000 and flees Phoenix to be with her debt ridden boyfriend in California. On the way she stops at the Bates Motel where she meets Norman Bates. Norman’s “mother” murders Marion. Soon after, Marion’s sister arrives in California with a private detective following her. Arbogast, the detective, follows the clues to the Bates Motel and is murdered by Norman’s “mother”. Marion’s sister and Sam approach the local police chief and discover Norman’s mother has been dead for years. They go to bates motel in search of Marion where Norman’s mother attempts to murder Marion’s sister but is stopped by Sam. They then discover that the mother is in fact Norman’s alter ego.

3. Key characters  Marion Crane: Janet Leigh  Lila Crane: Vera Miles  Sam Loomis: John Gavin  Milton Arbogast: Martin Balsam  Norman Bates: Anthony Perkins

4. Setting  Opening scenes take place in Phoenix, Arizona but quickly moves to California.  The time and place are clearly established by the screen titles.

5. Opening Sequence  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 possibilities are established in the opening of Psycho? What could be about to happen? Why do you think this?  Consider the following: TitlesMusic Camera movement LightingDialogue

6. Opening cont’  Titles: From the outset the audience is put on edge. The titling is quick moving and harsh. At points the titles are jagged and split horizontally, then rejoined. This could possibly insinuate that the Psycho has a split personality.  Music: Bernard Herrmann wrote the score for the film. The music in the opening is full of harsh and abrupt strings which seem to set a one dimensional, yet suspenseful tone. The score is composed with ONLY strings in the orchestra. Apparently Herrmann chose this as he felt it complemented the B&W film by having less dimensions to it.

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

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

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

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

11. Character development  How have production elements been used to develop two of the characters in Psycho? You must address the following: Dress/Appearance Visual Composition LightingSound/Dialogue

12. Marion Crane

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

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

15. Juxtaposition of characters Marion is shot from the front, suggesting openness and honesty. Everything near her is rounded and soft. The small stuffed birds may be symbolic of the relationship between her and Norman. Marion is shot from the front, suggesting openness and honesty. Everything near her is rounded and soft. The small stuffed birds may be symbolic of the relationship between her and Norman. Notice the placement of large birds of prey surrounding him. He is placed at an angle to the camera so part of his face is obscured, suggesting something hidden. Other objects in the shot are angular and harsh.

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

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

18. Norman Bates

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

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

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

22. Susannah & the Elders

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

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

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

26. Cause & Effect A narrative generally begins with a situation, then a series of changes occur according to a pattern of cause and effect. A narrative generally begins with a situation, then a series of changes occur according to a pattern of cause and effect. With reference to Psycho, discuss two examples to show how cause and effect contributes to the way the narrative has been set out or organised. With reference to Psycho, discuss two examples to show how cause and effect contributes to the way the narrative has been set out or organised.

27. Cause & effect.  Sam owes money and cannot afford to support Marion (Cause)  Marion is tempted by the $40,000 and in a moment of weakness steals it and runs towards Sam (Effect)  Marion finds it difficult to see during a rainstorm and leaves the main road to arrive at the Bates motel (Cause)  Marion meets Norman and is murdered within several hours (Effect)

28. Cause & Effect Can you create a flow chart for the series of events that structures the storyline? Can you create a flow chart for the series of events that structures the storyline? At each point in the plot where cause and effect are employed what other scenarios could have been presented? At each point in the plot where cause and effect are employed what other scenarios could have been presented?

29.  Select a sequence from Psycho and discuss with examples how any four of the following elements contributed to the effectiveness of that sequence. Camera/Film techniques. Camera/Film techniques. Sound (music, dialogue, sfx, voice over). Sound (music, dialogue, sfx, voice over). Editing Editing Developing storyline. Developing storyline. Character development Character development Creating suspense Creating suspense

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

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

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

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

34. Parlour Sequence  Character development: After 10 slide discussion on this earlier in the presentation I am not going to repeat it. Refer to the question on how production elements develops characters. Refer to the question on how production elements develops characters.

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