Examples Of Voyeurism In Pyscho

Another scene that’s important to dissect is the infamous shower scene where Marion is murdered by Norman’s “mother.” This scene is important because it again shows how Hitchcock is able to manipulate his audience. This one short scene has over 30 cuts that move in rapid succession from various angles. These tricks

In this line, “He was in the bedroom pushing clothes into a suitcase when she came to the door”. The husband was anxious from his wife’s complex attitude. He had already decided to leave the house. This scene gave

     Hitchcock uses misery, tragedy, and death to show the emotions of his characters. At no point is this more obvious than the end of the movie. Hitchcock spends the entire movie building up to this point and in the end he makes it extremely clear how tragedy has changed the relationship of everyone. After the nagging husbands murder of his wife has been confessed you see

He does the majority of the work and leaves enough clues for Lila and Sam to continue his job. The early deaths of the 'main characters' shocked the audience enough to leave them mystified and at the edge of their seats for the remainder of the film. Hitchcock had succeeded in creating suspense in his film using a new and different convention that had never been tried before.

Censorship was very strict at this time. Film standards agencies censored films showing sex before marriage, nakedness, violence and gore. Fortunately, Hitchcock overcame these restrictions in many ways. He used a series of shots to film the shower scene instead of continuous shot. He used chocolate sauce for blood and he had a knife stabbing a melon to imitate the sound of the butcher knife

Richard, afraid that it might scare away Claude, did not tell him anything about the strange goings-on in the mansion. However, Claude too had a similar experience. As Claude was lying on his back and painting the celling in the dining room, he also couldn’t help feeling the presence of someone watching him at work. He thought that there was someone in the hallway outside the room but he couldn’t find out for sure through the frosted glass doors.

He panned away from his family briefly and noticed nothing unusual. However, when they replayed the tape, they saw a "glowing mist" separate from her body and float down a prison

Hitchcock explained the reason for filming a woman wearing only her under garments in the opening sequence of Psycho: "Audiences are changing....The straightforward kissing scene would be looked down at by the younger viewers....Nowadays you have to show them as they themselves behave" (Hitchcock 1). The director was keenly aware of how audiences responded to his films (Rebello 163) and sought to maintain their interest. He was among a handful of Hollywood filmmakers who deliberately sought out innovative composers (Nowell-Smith 258); for Psycho, Hitchcock hired Bernard Hermann who wrote a modern score which challenged the norm. The title itself, fifties and sixties slang for the violently psychotic, suggested the imminence of a new generation (Brill 200).

This use of un-natural lighting and inanimate objects further emphasises the true nature of the characters and allows Hitchcock to position the audience to feel empathy for Marion before she is entitled as the victim. Mis-en-scene is used to reinforce the idea of duality to the reader as Hitchcock positions the characters, surrounding objects and lighting

In this essay, I shall try to illustrate whether analysing the movie Rear Window as a classical example of the Freudian concept of voyeurism, is appropriate. Voyeurism is defined in The Penguin dictionary of psychology as:

Before the Psycho by Alfred Hitchcock made its way into theaters across the world, film was produced in a completely different way. Some of the elements that were in Psycho were things that nobody saw in movies before. According to Entertainment Weekly’s Owen Gleiberman, when the movie came out, it took place in “an atmosphere of dark and stifling ‘50s conformity” and that the elements of the film “tore through the repressive ‘50s blandness just a potently as Elvis had.” (Hudson). Alfred Hitchcock changed the way that cinema was made by breaking away from the old, “safe” way of creating a movie and decided to throw all of the unwritten rules of film making out the window. The main ways he accomplished this task was by adding graphic violence, sexuality, and different ways to view the film differently than any other movie before its time.

Alfred Hitchcock’s attention to detail in his films is one of the many things that makes him one of the most recognized film auteurs of all time. He was very particular what about he wanted seen on screen and how he wanted to get those shots. From camera movements to the things found in the mise-en-scène, Hitchcock was very precise about every little thing that is seen in his on screen worlds. He would strategically place objects throughout the mise-en-scène and have characters wear certain clothing. By doing this, Hitchcock is able to let the audience know things about the characters and the plot without it having to be said on camera. Hitchcock once said that “If it's a good movie, the sound could go off and the audience would still have a perfectly clear idea of what was going on” (Tiffin). That’s why there’s no surprise that when Hitchcock finally made his first color film, he began to use color as another way of communicating with his audience.

The duration of the shot – which is essentially a twenty-second long take – is an aspect that only emphasises the suspense and tension intended by Hitchcock. However, if the shot was approximately six seconds – a common standard in films – then the anticipation and trepidation of the shot would thereby be lost. Furthermore, Hitchcock’s decision to prolong the shot prevented it from becoming obsolete amidst all the other shots of the film. This allowed Hitchcock to inaugurate the apprehensive and foreboding tone for the rest of the film, while simultaneously foreshadowing future perilous events. However, if the shot were extended for longer than twenty seconds, then it would therefore become tedious and mundane, disengaging viewers and detracting from the drama of the shot. Another focal aspect of the shot was the dark composition and lighting that complimented the duration to highlight Hitchcock’s intended ambiance of unease and suspicion. Be this as it may, if this shot were to have taken place during the day or with high-key lighting (which is when little contrast is created), then it’s predetermined perplexity and anxiety would vanish. In addition to this, if Hitchcock employed fill lighting and bright lighting then the shadows of the three men would evaporate. This would eliminate Hitchcock’s designed effect on the

"It's difficult to describe the way…the twisting of the… it's too difficult to describe" When describing some scenes in the film, he uses hand movements to show "twisting". This makes us eager to see what happens. When Alfred Hitchcock reaches some parts of the set, he makes some faces and talks differently. This makes the audience infer that something important or something significant has happened there.

Hitchcock makes use of a number of techniques in Vertigo and brings them together to make a film that is considered to be one of his greatest masterpieces. Through the use of colour, lighting, camera movement, dialogue and characterisation, Hitchcock produces a film that fascinates and intrigues us.