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We are all in our private traps.
PRINTED
2015 by UWE’s Print Centre BOUND & ASSEMBLED
Kristie Rompis LAYOUT & CONCEPT
Kristie Rompis BOOK & COVER DESIGN
Kristie Rompis PRIMARY TYPEFACES
TeX Gyre Heros designed by GUST e-foundry Vollkorn designed by Friedrich Althausen
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PRODUCTION NOTES
It’s been written that no film made before or since has equaled Psycho’s ability to scare people out of their wits and leave irremovable splinters of disquiet in their memories. A landmark of suspense cinema, this Alfred Hitchcock masterpiece shattered attendance records in 1960 and had people fleeing up the theater aisles.
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CONTENT 8 | PSYCHO
THE MACGUFFIN
13
SYMBOLISM
17
DOUBLE ENTRENDE
23
THE SHOWER SCENE
39
INSIDE BATES’S PSYCHE
41
CREATING PSYCHO
57
IMMORTALIZED
71
ICONIC INFLUENCE
83
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WE ALL GO A LITTLE
SOMETIMES. 10 | PSYCHO
HAVEN’T YOU?
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THE MACGUFFIN
THE MACGUFFIN
The MacGuffin was a term coined by Alfred Hitchcock. He generally used it as a device to hold together the first part of his film. What is it? Anything which all the characters are interested in obtaining. In Psycho, the MacGuffin is the $40,000 which has been stolen. The pursuit of this money provides the motivation which holds all the characters together the first part of the film without giving away the whole plot. Hitchcock generally only used it as a device to hold together the first act. Ultimately, Hitchcock said the MacGuffin is just not important, “It is nothing.� The moment Marion Crane decides to go back to Phoenix to return the money, is the moment that the audience did not care about the money. This is proven when right after she was murdered, the camera pans to the concealed money by the bedside table. It tries to remind the audience about it. What
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would happen to it? When Norman Bates cleans up her body and and clears out her belongings, there is a little suspense as to whether Norman would take the money but of course, he did not because he did not kill Marion for the money and the fact that it was concealed in the newspaper, he would not have known that there was money in there. Hitchcock interviewed by Oriana Fallaci, 1963: MacGuffin. You must know that when I’m making a movie, the story isn’t important to me. What’s important is how I tell the story. For example, in a movie about espionage what the spy is looking for isn’t important, it’s how he looks for it. Yet I have to say what he’s looking for. It doesn’t matter to me, but it matters a great deal to the public, and most of all it matters to the character of the movie. Why should the character go to so much trouble? Why does the government pay him to go to so much trouble? Is he looking for a bomb, a secret? This secret, this bomb, is for me the MacGuffin, a word that comes from an old Scottish story. . . . Two men are traveling in a train, and one says to the other, “What’s that parcel on the luggage rack?” “That? It’s the MacGuffin,” says the other. “And what’s the MacGuffin?” asks the first man. “The MacGuffin is a device for catching lions in Scotland,” the other replies. “But there aren’t any lions in Scotland,” says the first man. “Then it isn’t the MacGuffin,” answers the other. Clear? Logical?
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SYMBOLISM
SYMBOLISM
The parlour scene of Alfred Hitchcock’s famous thriller film, Psycho (1960), is rife with foreboding; something that can only be truly noticed if you know what’s to come and you’ve seen the film before. The dialogue is the most obvious vehicle for the dark sense of imminence that is abundant from the moment we are directed to see the looming, strange birds that litter the parlour walls; notably the owl, symbolic of death and avarice, and the crow, symbolic of death, cunning and untrustworthiness. “You eat like a bird” Norman says to Marion as she takes a nibble of the sandwich he made for her, and it’s now that we realise there is yet another bird in the room that Hitchcock has pointed out to us so clearly. It seems so obvious now that Marion, a woman or “bird”, should have the surname “Crane,” twice a bird amongst the many already there, and that it
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should be a bird that so poignantly symbolises purity and also stupidity. These definitions of crane emphasise her moment of stupidity when she stole the money, but also her purity, as she was wracked with guilt and worry and had just planned to return it the next day. It’s blatantly obvious now how Marion ominously fits into this conversation with Norman, a man whose hobby is to stuff birds, and forebodes so clearly her death that is only minutes of screen time away. The references to birds and stuffing them also alludes to Norman’s mother, who sits dead and preserved, stuffed and maintained by Norman himself. Although he seems not to know it even at the end that the illness that she suffers from, the illness that he hates so much, is death. In realising this overt symbolism, taken only from Marion’s surname, it becomes even more noticeable how imperative their names are to this scene and to the overall story of Psycho. Marion, a diminutive of Marie, is also half of the
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word “marionette” – a puppet – showing her inevitable and untimely demise to come, and also perhaps noting that she never actually ends up getting stuffed like a bird, only murdered – half of the process, thus only half of the name. With Marion’s surname’s meaning already discovered, we move on to Norman Bates. His given name, Norman, seems almost too obviously a contraction of “normal man,” something which we all can gauge that he isn’t, but perhaps relating to his surname “Bates,” the meaning is clear. “Bate”, a British slang word for “a fit of bad temper”, aptly forebodes Norman’s second personality – his mother – as being full of rage. His surname also places Norman in a strange position, as not only is he the carrier of his mother’s furious personality, he is also the bait (bait being a homonym of bate) for her rage. Norman Bates, the normal man who is the bait for the murderous tendencies of his second personality. It’s a terribly important moment to notice, the parlour scene of this film, and it should be clearly observed in symbolism and also in definition. In definition because this scene is not merely a play on words and symbols, but it also marks the transferring of the protagonist from Marion to Norman. It’s in this light that the final shot within the parlour finds meaning, and draws attention to the fact that as soon as they enter the parlour beyond the “officious” office of The Bates Motel and Marion takes a nibble of the sandwich Norman has made for her, they are not seen in the same shot until she leaves once more. As she walks out of the parlour to her room, Norman steps
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into her shot and watches her walk away. And so subtly, so carefully orchestrated in this beautifully intelligent and literal way, has Hitchcock marked Marion’s departure as the film’s protagonist – which is further solidified by her untimely death in the following scene – and Norman taking her place, in shot and in story. It’s a testament to Alfred Hitchcock, that to this day in one scene of ten minutes he can so clearly show the fullness of his story, intelligence and skill, with such rich symbolism and attention to the simplest details; and that after fifty-three years he can still influence the contemporary audience and direct them to do his subtle bidding, feel the rapid heartbeat of suspense, and remain in the dark until the very end.
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DOUBLE ENTENDRE
‘Dirty night.’
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‘Sometimes… we deliberately step into those traps.’
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‘Well, uh – a boy’s best friend is his mother.’
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‘Hate the smell of dampness, don't you? It's such a, I don't know, creepy smell.’
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‘By the way, this painting has great significance because…’
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SUSANNA AND THE ELDERS As the story goes, a fair Hebrew wife named Susanna was falsely accused by lecherous voyeurs. As she bathes in her garden, having sent her attendants away, two lustful elders secretly observe the lovely Susanna. When she makes her way back to her house, they accost her, threatening to claim that she was meeting a young man in the garden unless she agrees to have sex with them.
MALE SEXUAL AGGRESSION AND She refuses to be blackmailed and is arrested and about to put to death for promiscuity when a young man named EVILbeDaniel THAT EXISTS interrupts the proceedings, shouting that the elders should be questioned to prevent the death of an innocent. AfEVEN ELDERS AND ter being separated, the two men are questioned about details of what they saw but disagree about the THE (cross-examination) SEEMINGLY tree under which Susanna supposedly met her lover. The first says they were under a mastic tree, and Daniel says that an SENSITIVE NORMAN angel stands ready to cut him in two. The second says they were under an evergreen oak tree, and Daniel says that an BATES angel stands ready to saw him in two. The great difference in size between a mastic tree and an oak tree makes the elders' lie plain to all the observers. The false accusers are put to death, and virtue triumphs.
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THE SHOWER SCENE
According to Herman Schlom, the production supervisor, quoted by Patrick Brion (in Hitchcock), “Hitch wanted the camera to be the audience all the time, for him to see as if were the audience’s very own eyes.” So added to the voyeurism—Janet Leigh naked, bit by bit—was the spectator’s share and director’s share: sadism. Seeing such beauty destroyed and killed. But the beauty was guilty, for Marion (Janet) had stolen $40,000 from her employer. Sin laid bare, taking an almost consecrated shower. “The shower was a baptism,” Janet Leigh explained to Stephen Rebello for his The Making of Psycho, “the chance for Marion to get rid of the thing that was torturing her. In the shower, Marion becomes a virgin all over again. Hitchcock wanted the audience first and foremost to feel that peace, that redemption, that kind of resurrection, in such a way that the intrusion of Norman’s mother is even more frightening and tragic.” Mission accomplished. Seventy shots in just forty-five seconds, plus the insistent, staggering strident music of Benard Hermrmann’s twelve violins, and since 1960, no woman has ever looked innocently at a shower curtain.
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THE SHOWER SCENE
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INSIDE BATES’ PSYCHE
SUPEREGO
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EGO
ID
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ID, EGO & SUPEREGO
The Bates house in Alfred Hitchcock’s “Psycho” was largely modeled on an oil painting at the Museum of Modern Art in New York City. The canvas is called “House by the Railroad” and was painted in 1925 by American iconic artist Edward Hopper. The architectural details, viewpoint and austere sky is almost identical as seen in the film. Although Hopper denied attempting to express any emotion in his paintings- he stated purpose in his work was journalistic- it is impossible not to feel a sense of isolation created by the interplay of intense light and shadow. Here the light illuminates a mystery and brings an uneasiness into being. The light brilliantly brings the facade into relief, and in doing hides the inside the house. The interior, with its ‘unknown’ depths created by the shadows, and partially opened blinds, make us imagine that someone, unseen, could be looking out, looking at us looking at the painting. This play between the unseen observer on the side of the painting and the spectator facing the painting was masterfully exploited by Hitchcock in “Psycho”. When Lila approaches the Bates house, walking up the long steps, the camera shifts from Lila’s perspective to another perspective, hidden inside the house itself, and back. The effect is uncanny, the sense is that the house itself is looking back at Marion, and its uncanny gaze is thick with malice. The gaze Marion encounters in this scene is, as Lacan writes, “not a seen gaze, but a gaze imagined by me in the field of the Other”.
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Philosopher Slavoj Zizek uses the three levels of the Bates house to describe the classic Freudian triad of ego, superego, and id: As Zizek points out, the superego, thought of by Freud’s American followers as the mature, ethical agency which restrains our base impulses, is in fact always motivated by illicit drives. The superego (the aspect of the self that makes us feel guilty) always has one foot in the id, the base aggressive and sexual instincts. There is never an end to the ethical demands the superego makes. If you throw your trash on the street, you are guilty. If you recycle, you are guiltier. If you dedicate your life to fighting for the environment, you are guiltiest of all, because you haven’t sacrificed more. The superego, the agency of the psyche responsible for the sense of guilt, is sadistic and relentless, and the more you give it, the more it will demand. Ultimately, the role of the superego is creating docile subjects prepared for social discipline. What Zizek does not touch on in this clip is the role of the ego, which, although generally thought of as more or less equivalent to the thing referred to by the word “I”, is also an extension of the id, these primitive sexual and aggressive drives. The ego, the “I”, is like the facade illuminated in the Edward Hopper painting. “Normally there is nothing of which we are more certain than the feeling of our self, of our own ego. This ego appears to us as something autonomous and unitary, marked off distinctly from everything else. That such an appearance is deceptive, and that onth econtrary the ego is continued inwards, without any sharp delimination, into an unconscious
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mental entity which we designate as the id and for which it serves as a kind of facade- this was a discovery first made by psychoanalytic research‌� Sigmund Freud, Civilization and its Discontents Edward Hopper’s painting gives us the sense that the entirety of the external composition, from the decrepit facade to the railroad tracks, intercourse with the world, is the flotsam and jetsam left behind when the darkness of the house receded into the interior, into the basement. The asymmetry that makes this painting so compelling is the overwhelming sense of being observed from the other place, the other scene in the interior of the house, disturbingly close to appearing as if the entire scene is already the interior of the house.
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NORMA BATES
“Why was he dressed like that?” asks Sam Loomis. “He’s a tranvestite,” the officer replies. However, Dr. Fred Richmond disagrees, “Ah, not exactly. A man who dresses in women’s clothing in order to achieve a sexual change, or satisfaction, is a transvestite. But in Norman’s case, he was simply doing everything possible to keep alive the illusion of his mother being alive. And when reality came too close, when danger or desire threatened that illusion - he dressed up, even to a cheap wig he bought. He’d walk about the house, sit in her chair, speak in her voice. He tried to be his mother! And, uh, now he is. Now, that’s what I meant when I said I got the story from the mother. You see, when the mind houses two personalities, there’s always a conflict, a battle. In Norman’s case, the battle is over and the dominant personality has won.”
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I AM
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NORMA
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WE ALL GO A LITTLE
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SOMETIMES.
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‘It’s sad, when a mother has to speak the words that condemn her own son. But I couldn’t allow them to believe that I would commit murder. They’ll put him away now, as I should have years ago. He was always bad, and in the end he intended to tell them I killed those girls and that man...as if I could do anything but just sit and stare, like one of his stuffed birds.’
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CREATING PSYCHO
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Possibly to ensure the “authenticity� of a true low-budget film, Hitchcock came up with several famous gimmicks to raise awareness of the film, the most famous being that no one would be admitted after the film started. At a time when audiences came and went to films, Hitchcock required each cinema to ensure that every audience saw the film right from the start. Many were laden with life size cut-outs of Hitch pointing to his watch, ensuring audiences that they must see Psycho from the start, or else they would not see it at all.
GIMMICK
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In the book, Norma Bates was fat, stubby and terribly unlikeable, but Hitchcock always figured that the best film villains must be nice and attractive. One of the other noticeable differences is the fact that Norman’s murderous behavior is not the result of psycho-physical damage, but blackouts brought on by heavy drinking. Some other small facts include the name of Mary Crane changed to Marion, the action taken from Fort Worth, Texas to Phoenix, Arizona, and Marion’s head being severed in the shower.
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Anthony Perkins was cast against a wave of protest from Paramount, due to his youth and his being unrecognizable to audiences. Janet Leigh was cast so that the film would have some star quality. Vera Miles was brought on because she dropped out of Hitchcock’s earlier film, Vertigo, due to pregnancy. One of the only casting choices that Hitch was against was John Gavin, whose performance he regarded as “stiff”. And as usual, he gave his daughter Patricia a small role as well.
THE CAST
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Also known as Horror Hotel, this Christopher Lee film is known as one heck of a coincidence. Other than being released in the same year, both start with the film following a young blonde, who we think will stay with us throughout the story. Midway through the film, they check in to a secluded hotel/motel, before being stabbed to death. Despite the similarities, people have said that due to the woman in City of the Dead being a minor star, it would never have had an effect on them like that of major starlet Janet Leigh being viciously murdered.
THE CITY OF THE DEAD
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As with many of Hitchcock’s previous films, Saul Bass designed the title sequence. In this film, Hitchcock managed to give him a larger role, allowing him to storyboard Det. Arborgast’s death scene – for which he got a “pictorial consultant” credit. His ideas for the sequence did not go so well though, and Hitch said that it set the audience to expect an inevitable murder. Years later, Bass claimed that he also story-boarded and directed the famous shower sequence, although many of the crew, including Janet Leigh, disregard his claims as false.
SAUL BASS
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Just thank the lord that only trace elements of infamous serial killer Ed Gein’s story was used as a mold for Norman Bates, otherwise Psycho would have been a much darker film. Bates is sort of a model of Gein, who is one of the most famous psychopaths in history, and elements of his psychological attachment to his mother were surely kept in the film. But remember what was left out – things like stealing corpses, decorating his house with body parts and creating a suit made of skin. Gein would later come alive in another serial killer, Jame Gumb from The Silence of the Lambs.
ED GEIN
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Back in 1955, Hitchcock tried incredibly hard to acquire the rights to the French novel Celle qui n’était plus, before being beaten to it by director Henri-Georges Clouzot by a matter of hours, who made it as Les Diaboliques. Some commonly believe that Psycho is Hitchcock’s unofficial version, and the two are quite similar, although it is also stated that Psycho came about when his plans for a film starring Audrey Hepburn called No Bail for the Judge failed.
A FILM TO FALL BACK ON
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Everybody can recognize this scene the minute they see it, accompanied by Bernard Herrmann’s aptly named track “Screaming Violins”. It is a common story that Hitchcock had the water turn ice cold so that Janet Leigh could scream, but this is false. The scene took seven days to complete so the production went to great lengths to keep the water warm for her comfort. Hitchcock also wanted the scene to be accompanied by a deathly silence, but Herrmann went ahead and composed a score anyway. Thankfully, Hitchcock liked it and put it in. In the end, the scene contains 70 cuts and lasts just 45 seconds.
THE SHOWER SCENE
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In those times, audiences were shocked to see a toilet being flushed and this was the first film to show such an act. The toilet in the film was actually flushing paper, but nevertheless, the fact that a toilet was shown in close up being flushed was regarded as filthy. However, there were two cartoons made in the 1930s that also depicted toilets being flushed in clear view.
THE TOILET
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Not many know, but it was mostly the low-budget, gimmick-ridden films of William Castle that influenced Psycho. As a matter of fact, the film was sort of a game for Hitchcock, seeing whether a well-respected director such as himself could make an inexpensive film that would still do well at the box office, and it did. Hitchcock went to great lengths sometimes to keep the film cheap, such as deliberately filming in black and white (he has also stated that the film would have looked too gory in color), and using the crew from his television series Alfred Hitchcock Presents.
WILLIAM CASTLE
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IMMORTALIZED
PSYCHO II
Two decades after the original murders at the Bates Motel, Norman Bates (Anthony Perkins) completes his treatment at a mental institution and returns home to find his hotel run down under the management of Warren Toomey (Dennis Franz). Despite a new friendship with a waitress (Meg Tilly) and a job busing tables at a diner, Norman begins to hear voices once again. No matter how hard he tries, Norman cannot keep “Mother� from returning and coaxing him to unleash the homicidal maniac within.
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PSYCHO III
Former mental patient Norman Bates (Anthony Perkins) is once again operating his infamous motel. Assisted by the shifty Duane Duke (Jeff Fahey), Norman keeps up the semblance of being sane and ordinary, but he still holds on to some macabre habits. Eventually, Norman becomes interested in Maureen Coyle (Diana Scarwid), a troubled tenant who’s been staying on a long-term basis and reminds him of someone from his past. As Norman and Maureen begin a relationship, can he keep his demons in check?
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PSYCHO III
Released from a mental institution once again, Norman Bates (Anthony Perkins) calls in to tell his life story to a radio host (CCH Pounder). Norman recalls his days as a young boy living with his schizophrenic mother (Olivia Hussey), and the jealous rage that inspired her murder. In the present, Norman lives with his pregnant wife, Connie (Donna Mitchell), fearing that his child will inherit his split personality disorder, and “Mother� will return to kill again.
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PSYCHO 1998
Hoping for a fresh start with her broke boyfriend, Marion (Anne Heche) steals a huge sum from her boss and skips town, eventually stopping at a remote motel. There, she’s served by the intensely awkward yet docile Norman Bates (Vince Vaughn), whom she often hears arguing with his domineering mother. But later that night, Marion is brutally slain, and Norman finds and hides the body. When a detective and Marion’s sister visit the motel to investigate, they uncover shocking truths.
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TELEVISION
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Creating a prequel story to Psycho is a bold move, given how beloved the film is, but A&E’s upcoming Bates Motel is notably taking the story of a teenage Norman Bates and moving it to the present day. Speaking about Bates Motel at the TCA (Television Critics Association) press tour today, executive producer Carlton Cuse (Lost) said that it was an easy call for him to move the series to the present, rather than the 1950s (to line up with the 1960 film), explaining, “The idea of doing a contemporary prequel made it clear that what we were doing was something that was inspired by Psycho but not an homage to Psycho, and that was a big difference to us.” He later added that doing Bates Motel as a period piece “was not interesting to me. Again, I think the idea of an homage is just not… that’s just not engaging to me. So it felt like making that fundamental decision to make the story contemporary gave us the freedom to really take these characters wherever we wanted to.” Cuse noted that by the end of the series, ”In some general form, we are going to catch up with a version of the character from the movie,” but not having it set in the past made it so they weren’t bound absolutely to the continuity of the film and to have everything exactly line up.
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ICONIC INFLUENCE ICONIC INFLUENCE | 83
ICONIC INFLUENCE
After more than 50 years since first shocking the film industry and audiences’ psychological inadequacies, Alfred Hitchcock’s Psycho is still marveled as being the archetypal foundation for modern-day horror films, as well as the driving force behind today’s censorship standards. Since its release in 1960, Psycho’s mass appeal undoubtedly comes from its atypical iconic elements. From drawing sympathy toward evil, creating violence with the lack of imagery, and using the camera to manipulate the audience’s point of view, Psycho has unquestionably marked itself as an influential, timeless classic in the eyes of both filmmakers and fans alike. Perhaps noted as the most famous scene in cinematic history, the 45-second shower scene encapsulates all the brilliant elements that make this film a masterpiece. After spending a third of the film with Janet Leigh’s Marion Crane, in a short, electrifyingly brutal scene, the film switches to Bates’ point of view and the audience is invited to sympathize with his psychotic dilemma over confronting his mother’s fatal crime. This effect to play with the audience’s sympathy was never vastly dealt with in mainstream filmmaking before. Not only was it pioneering, but it was the foundation to what would become the “slasher” sub-genre. As many horror films during the time were presented in the third person, Hitchcock’s use of first-person shooting between victim and killer maneuvers the audience to exactly where the suspense occurs. Thus, the audience identifies with
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the crisis, intensifying the horror more so than displayed on screen. If it wasn’t for this unforgettable scene, we wouldn’t have the slow-motion violence of Bonnie and Clyde in the later part of the 1960s, nor would we have evolved slasher films like Halloween in the 1970s and the Saw films of today. Through the film’s digression, we can see how Psycho represents a benchmark for many of today’s modern slasher hits. Norman Bates is the original killer, characterized as the psychotic product of a sick family, but still recognizable as a human. This is the basis for films such as The Texas Chain Saw Massacre. The Bates Motel is the locale of the killer’s horrific origins, akin to Michael Meyer’s asylum in Halloween. The knife is his weapon of choice (similar to the killer in Wes Craven’s Scream), and the helpless woman is the first victim to go or last person to stare death in the face (modeled after Marion Crane). With this, the legacy of Psycho is most apparent in John Carpenter’s Halloween, threaded by its transgression of the barrier between psychological and supernatural monster, becoming the prototype for many late1970s and early-1980s slasher hits such as Friday the 13th and Nightmare on Elm Street. One can surely go on about the vast influence of Psycho and Alfred Hitchcock’s ingenuity on the horror genre in general, but to do so would only make the point sound repetitive. Psycho was and is so ahead of its time, so detailed, so risqué in more ways than one, that by not including it in the pantheon of greatest films ever made would make any other choice irreverent and irrelevant.
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THE SHOWER HEAD
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THE HOUSE
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THE OWL
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THE KNIFE
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Death should always be painless.