Psycho Analysis

1. Psycho
Directed by Alfred Hitchcock
Released 16 June 1960 (New York Premiere)
Psycho is based on Robert Bloch's 1959 novel of the same name, loosely based on the case
of convicted Wisconsin murderer Ed Gein. It was unprecedented in its depiction of sexuality
and violence, right from the opening scene in which Sam and Marion are shown as lovers
sharing the same bed, with Marion in a bra. In the Production Code standards of that time,
unmarried couples shown in the same bed would be taboo.
“However many times you've seen it on TV, nothing prepares you for Psycho on the big screen
with a jumpy audience. It's a darkly amusing, manipulative film that's still compelling in its vision
of human desperation. It is much more than a mere exercise in audience control. With the help
of Bernard Herrmann’s jagged, strings-only score, the audience is led on a journey into the
psychological abyss. Littered with Freudian symbolism, Hitchcock’s imagery is both suffocating
and schizophrenic. More importantly, the characters are tragically imprisoned by their pasts; as
Norman says to Marion in their most revealing exchange: “We’re all clamped in our private
traps. We scratch and claw, but only at the air, only at each other.”– Total Film Reviews

2. Psycho Case Study | Generic Archetype and Misogynistic Direction
In the film ‘Psycho’ (1960) the character of Marion is portrayed as a generic archetype of ‘femme fatale’ through Alfred Hitchcock's
misogynistic direction. For example, the opening shot is the exterior of a window, which is an ironic point of view as it positions the
audience as a voyeur – a watcher or ‘peeping tom’ – which suggests that Hitchcock is making the statement that cinema is
voyeuristic; this is further reinforced by the opening establishing shot of the city, which pans and almost breaks the 360 degree rule,
therefore suggesting that the audience is looking around the landscape and choosing where about they want to zoom in and focus
their gaze. The fact that nearly all of the film recorders at that time would have been male shows that this ‘peeping tom’ persona is
predominantly male, reinforcing the idea of misogynistic direction as the men are objectifying women and therefore creating a
negative attitude towards gender.
Point-of-view window shot and the 360 degree pan of the city
This is because, through the window, is the character of Marion Crane. Immediately, she is established as a deviant woman; she is
having an affair with a married man, which would have been shocking in the late 1950s to the early 1960s as it was seen as deviant
and the behaviour of a ‘whore’. She is also wearing black underwear, which in the 1960s was seen as the type of outfit that ‘tarts’
would wear, reinforcing her femme fatale archetype. Her positioning in the shots reinforces her femme fatale archetype even more, as
she is always the centre each shot, connoting dominance and power; this is highlighted during the establishing shot where she is seen
lying seductively across the bed, thus drawing the audience’s eye towards her and establishing her deviant actions. Due to her
promiscuous behaviour, the fate of Marion has already been sealed; this is because deviant women were often mocked and punished
by misogynistic directors – such as Hitchcock – to prove that women were easy to control and were not as powerful a men.
The death of Marion Crane is a classic which has gone down in cinema history, as Bidisha - a writer from the Guardian - explains: ‘the
shower killing scene that everyone remembers – the one with the cheap plastic curtain – is just Hitchcock enjoying his favourite game
of punishing a female thief and liar.’ This quote links back to the idea of Hitchcock being a misogynistic director as he is has taken a
once dominant, deviant women and has made her look weak, showing that women can never get away with their actions, and
therefore putting them ‘back in their place’ in society. This idea is also reinforced by the fact that Hitchcock kills of the female lead
role, which would have been shocking to the 1960s cinema audience.
The deviant woman: black underwear and promiscuous behaviour

3. Psycho Case Study | Thriller Conventions and Shower Scene
The film ‘Psycho’ contains many thriller conventions, which is evident as soon as the film begins The soundtrack establishes the genre
during the opening titles; it is played staccato with lot of dissonance which makes the audience uneasy and already establishes a
sense of intensity, which is a convention seen in many thriller soundtracks. The composer, Bernard Herrmann, wrote for a string
orchestra rather than a full symphonic ensemble, contrary to Hitchcock's request, as he thought the ‘single tone colour of the all-
string soundtrack reflected the black-and-white cinematography of the film’, while also creating a ‘darker and more intense’ effect.
Also, the opening credits are white on black, so that the black establishes the film noir genre as it symbolises the shadows and
chiaroscuro lighting of the genre. Here is a link for the opening credits: https://www.youtube.com/watch?v=hwq1XHtJEHw
Another convention of the thriller genre seen in the opening of ‘Psycho’ is the use of venetian blinds; the shadows created by blinds
could be seen to represent jail bars, which could therefore suggest that the characters are going to take part in some sort of deviant,
law breaking action which may result in them going to jail, or at least landing on the wrong side of the law. This foreshadowing is
seen in many other thriller noir films, such as in ‘Double Indemnity’ (1944) and ‘Stranger on the Third Floor’ (1940) , as it leaves the
audience is suspense, wondering what will happen to the character and what exactly they will do to become so lawless. This effect is
created through chiaroscuro lighting which helps to create the shadows and the contrast between light and dark.
Venetian blinds in ‘Psycho’, ‘Double Indemnity’ and ‘Stranger of the Third Floor’
One of the most famous scenes in cinema history, the shower scene from ‘Psycho’ uses thriller conventions and camera techniques to
make it so memorable. Take, for example, the setting for the murder: a bathroom is an enclosed space, which means there is nowhere
for Marion to run or hide when the murderer enters; this makes the scene more frightening, as it creates a sense of claustrophobia,
which is a thriller convention seen in many other films of the genre. Also, Marion is naked during this scene; this connotes
vulnerability and makes her more exposed, making the scene even more shocking as she had no way to defend herself. This idea of
vulnerability is also reinforced through the rule of thirds which makes Marion look weak and small when she is reaching out for help.
Hitchcock also uses extreme close ups to make the audience feel uncomfortable and on-edge during the murder, such as with
Marion's eye and her bloody hand, which also reinforces the shocking atmosphere created.
Shower scene: rules of thirds, extreme close ups and enclosed space