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psycho - Mike Rosenbloom CMM 150 Dr Hotchkiss Psycho...

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Mike Rosenbloom CMM 150 Dr. Hotchkiss 11-1-07 Psycho Worksheet 1. Another example of meaningful movement of the camera is when the shot fades into a shot of the Bates Motel sign, and then kind of swoops down to we follow the camera towards the office where Norman Bates is sitting. I don’t know why, but it kind of reminds me of the way the knife moves when the mom goes to stab Marion, the downward movement of the knife as she keeps stabbing Marion. It’s effective because it is just a foreshadowing of what is about to happen at the motel on numerous occasions, though I’m not really sure if that is what Hitchcock had intended to do or not. 2. Hitchcock uses a couple of different camera tricks to make us think that Norman Bates’ mother is actually moving when she really isn’t. First, when we see her in the window, it looks like she is moving. Hitchcock however, doesn’t place the camera behind her, or in a spot where we can see her clearly, but instead puts the camera on the ground outside of the house and has the window shade moving, to create the illusion of her moving. Second, in the murder scene, Hitchcock uses a bunch of very quick cuts so the audience can never get a good look at her face. If we were able to, we would know that it actually isn’t the mother that is killing Marion, but instead it is actually Norman himself. Hitchcock uses quick cuts so we can’t actually see her face, so we are never clear on what she (or “he”) looks like. 3. I feel like the extreme close up right after the murder scene was a very interesting shot. The transition that goes from the close up of her eye to the to the water and the blood trickling down the drain is a great way to show 1) that she is actually dead and 2) just a general way of furthering the plot. Even though her face isn’t
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