Psycho II

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  • Character Analysis Of Norman In Hitchcock's Psycho

    Norman Bates describes life as a trap, or more accurately, our own private traps that we cannot get out of – no matter how hard we try. While this is true for many characters in the film Psycho directed by Alfred Hitchcock, it is most true about Norman himself. The surprising information we learn about Norman throughout the movie proves this point more and more. Norman suffers from a multiple personality disorder brought on by his desires. Norman lives as both himself and his deceased mother. By taking on his mother’s personality, he hopes to bring her back in some way. This shows two things. One is Norman’s melancholy after his mother’s death, and two, Norman’s inner struggle with his desires. Norman’s ultimate desire is his mother. As we learn at the end of the movie, Norman killed his mother and her boyfriend. This shows that he always had a fantasy of his life, alone, with his mother. When another man came in and threatened his relationship with his mother, he got rid of the both- the man for protection of the fantasy and his mother out of betrayal. Norman felt betrayed by his mother because she ruined the fantasy. His melancholia after his mother dies is what causes him to dig up his mother’s bones and take on her personality. The mother that we see in the film is the piece of his mother he has kept with him after losing her.…

    Words: 1085 - Pages: 4
  • Psycho: Movie Analysis

    I'm not even going to pretend that I'm qualified enough to critique the masterpiece known as Alfred Hitchcock's Psycho. The film is pretty much near perfection in all regards and there is nothing I could say that hasn't been heard a million times before. However, there is one thing I want to talk about and that is, the differences between the movie and book. Alfred Hitchcock is quoted as saying that everything that is in Psycho was from the book by Robert Bloch. For the most part, that statement…

    Words: 1536 - Pages: 7
  • Norman Bates

    In the film, Psycho, Norman Bates is observed manifesting behaviors and dependencies on his mother that existed when she was alive, thus showing the audience how he is regressing to an earlier period in life where he didn’t have to deal with the current circumstances. Actions that Norman Bates takes to preserve the image of an earlier period in his life, such as his childhood, and how he detaches his consciousness from the existent world beyond the Bates motel, all help elucidate upon his key…

    Words: 993 - Pages: 4
  • Bate Motel: The Narration In A Film

    setting. Instead the narration only provides bits and pieces as the film progresses. Within a film directors provide a syuzhet, which is the order in which the film is presented, and it is up to the viewers to create a fabula, which is the way your mind puts all the pieces together. Consistently, while watching a film, gaps will be formed when a viewer does not have all the information when trying to come up with a solution to a situation. In the infamous film Psycho, done by Alfred Hitchcock,…

    Words: 1367 - Pages: 6
  • The Heroic Journey In Hitchcock's Psycho

    In the film ‘Psycho’, Hitchcock shocked the audience, and strayed from the traditional heroic journey by killing off the main character halfway through the film. Mary Crane lives in her Ordinary world; she is an unassuming woman living in Phoenix Arizona, working as a secretary. Her boyfriend, Sam Loomis is low on money. Mary is unsatisfied with her current situation, prompting her to leave her Ordinary world and accept her call to adventure. There is little to no reluctance as Mary rushes home…

    Words: 897 - Pages: 4
  • Alfred Hitchcock Psycho Critical Analysis

    One of the most iconic filmmakers of the classical Hollywood era is Alfred Hitchcock. And perhaps one of the best works by him is the movie Psycho. Made in 1960, Psycho started out with actually a lot of negative criticism by well-known movie-goers and critics. Labeled “a violation of good film construction”, the movie turns out to be packed with brilliant plot twists and turns (Kendrick, 6). And in the back end of this brilliant presentation is the subversion and the creativity that has driven…

    Words: 1779 - Pages: 8
  • Literary Elements Of Conflict In Alfred Hitchcock's Film Psycho

    more startling when the audience does not expect it to happen. Psycho, a film by Alfred Hitchcock is an American classic, because of one specific scene, the scene where Marion Crane is stabbed to death in the shower. Psycho starts with Crane stealing the money of a client at the bank she works at, and leaving town to give the money to her boyfriend. On the way, she stops at Bates Motel to stay the night. At the hotel, she meets the owner Norman Bates and learns some about his mother Norma. While…

    Words: 842 - Pages: 4
  • Night Of The Living Dead Film Analysis

    Night of the Living Dead, released in 1968, directed by Gorge A. Romero and Carnival of Souls, released in 1962, directed by Herk Harvey, are two popular movies in the horror genre. Both low budget and filmed in black and white, captivated audiences with their filming techniques and psychological impact. Night of the Living Dead better represents the horror genre than Carnival of Souls because of its use of characteristics, stereotypes and technical components throughout the film. A typical…

    Words: 1531 - Pages: 7
  • Camera Techniques In Alfred Hitchcock's Psycho

    this in Psycho, and it is “ranked among the greatest films of all time, it set a new level of acceptability for violence, deviant behavior and sexuality in American films, and is widely considered to be the earliest example of the slasher film genre“ (Wikipedia). American screenwriter Joseph Stefano (1922 - 2006) wrote the screenplay for Psycho. Stefano is…

    Words: 1074 - Pages: 5
  • Alfred Hitchcock Rear Window Analysis

    Wording, clothing, and sex were some of the most reoccurring problems the Production Code Administration had with Alfred Hitchcock’s 1954 film Rear Window. Throughout their communications, the PCA and the filmmakers discuss scenes that have subtle sexual undertones, risqué costumes, and wordings that the PCA found to be unacceptable. The correspondence between the filmmakers and the PCA begin around November 1953 and go on until around April 1954. Most of the letters are between Paramount…

    Words: 888 - Pages: 4
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