final paper

final paper - 1 The film Psycho is arguably the best...

Info iconThis preview shows pages 1–3. Sign up to view the full content.

View Full Document Right Arrow Icon
The film Psycho is arguably the best example of cinematography and misc-en- scene is the history of film. The camera angles Hitchcock uses are one of a kind, and the setting he puts his characters in only further their personality traits. Psycho is a prime example of Hitchcock’s best work. The sequence I choose to dissect was from the time Marion arrives at the Bates Motel until the time she is murdered. I cut out a small part when she was in her room fussing with her stolen money, and the sequence came out to a little over fifteen minutes. The sequence starts off with Marion in the car after fleeing the cop. It is absolutely down pouring outside and she is just looking for any place to crash. A shot through the windshield shows the Bates Motel sign through the windshield wipers. I found this to be a very interesting shot. We all know that something is going to happen at the motel just based on how it looks. It’s dark, not very well lit, and there really is only one light on in any of the rooms and that is in the office. I’m not sure if Hitchcock intended it to be this way or not, but when I was watching Psycho for the first time, as soon as I saw the motel, I knew something important would happen here. Another interesting thing about this first sequence is the rain. Hitchcock could’ve easily made it a beautiful night and have some light and cheery music playing in the background but instead, all we hear is the sound of the rain against the car and nothing else. Rain is usually associated with darkness and unhappy thoughts, and when the viewer sees a motel that is very dimly lit and rain coming down and no type of upbeat music, we will automatically assume the worst. Before even meeting Norman Bates or seeing anything in the motel, we know it will be associated with something bad. 1
Background image of page 1

Info iconThis preview has intentionally blurred sections. Sign up to view the full version.

View Full DocumentRight Arrow Icon
Once Marion rolls up to the motel, she gets out and runs into the office, looking for whoever runs the place. When she realizes there is nobody inside, she looks to the house on top of the hill. As she looks up there, she sees a shadowy figure walk by the window. Obviously, this is a huge foreshadow of what is going to happen to her. Hitchcock does a great job however of not giving away too much. While we know the motel is going to play a big part in the rest of the film, we don’t know who or what that figure was. Marion then goes and honks her horn at the house, and Norman Bates comes running out to help her. This makes the audience assume that the shadowy figure they just saw in the window was in fact Bates, and we realize that it’s just a normal guy. Obviously, we find out later who it really was, but the fact that Hitchcock relaxes the audience by showing Bates right after the shadowy figure makes us forget about who it might have been; at least for a little while. Also, the figure was put there to throw the audience off as to whether or not Bates’ mom is alive. Since the figure looks like a woman, we assume it to be his mother. Bates runs out of the house so quickly after we
Background image of page 2
Image of page 3
This is the end of the preview. Sign up to access the rest of the document.

This note was uploaded on 04/17/2008 for the course CIN 150 taught by Professor Hotchkiss during the Fall '08 term at Hartford.

Page1 / 8

final paper - 1 The film Psycho is arguably the best...

This preview shows document pages 1 - 3. Sign up to view the full document.

View Full Document Right Arrow Icon
Ask a homework question - tutors are online