WCC FILM 100 psycho parlor scene analysis powerpoint (updated) LUTHER

1. PSYCHO:
“PARLOR
SCENE”
ANALYSIS
Film 100

2. PSYCHO:
“Parlor
Scene”
analysis
• Watch the “Parlor Scene” scene (posted on
Blackboard) carefully and repeatedly.You
will then write a brief scene analysis by
looking at 4 main elements of MISE EN
SCÈNE. Using questions #1-#4 you will
make a basic list of each one and how it’s
used in this scene.Then, with #5, you are to
bring them all together into a unified SCENE
ANALYSIS by giving these decisions
“MEANING” in terms of FILM LANGUAGE.

3. PSYCHO:
“Parlor
Scene”
analysis
• 1.) LIGHTING (just a basic list of how it is being used – NOT what it all
“means” yet):
• 2.) FIGURE/OBJECT POSITION (just a basic list of where/how are
characters/things placed and/or moved – NOT what any of it “means”
yet):
• 3.) CAMERA ANGLES (just a basic list of how the is camera tilted – NOT
what that might “mean” yet):
• 4.) SET DRESSING/PROPS (just a basic list of the specific items being
used as props – NOT what any of them “means” yet):
– (While I want you to mainly focus on the LIGHTING, FIGURE/OBJECT
POSITION, CAMERA ANGLES, and SET DRESSING/PROPS, is there anything
else appropriate and/or interesting you’d like to add/observe about the parlor
scene/film for use in your analysis?)
• 5.) OVERALL ANALYSIS – NOW take all these listed elements into
consideration and tell me what they “mean” in the context of theVISUAL
LANGUAGE of the film, both individually and collectively.What is your
SCENE ANALYSIS?

4. PSYCHO:
“Parlor
Scene”
analysis
• It all starts with a simple invitation into the
parlor.The use of the word “parlor” as in
— “come into my parlor said the spider to
the fly” — sets up the horror to come, all
the way to the last line of the film when
Norman’s “mother” who has by now
completely taken over, stares into the
camera/at us and lets us know that “she”
would not “even hurt a fly.”
• The Parlor = Norman’sTwisted Mind

5. PSYCHO:
“Parlor
Scene”
analysis

6. PSYCHO:
“Parlor
Scene”
analysis
• The parlor is a small room and barely big
enough for the two chairs, the lamp table,
coffee table, and chest used as the set.
• ATiffany lamp, the only source of light in
the room, acts as the presumed key light
within the scene.
• The characters' positions within the room
and how they are lit by this single light
source informs the audience about the
characters just as much as any dialogue.

7. PSYCHO:
“Parlor
Scene”
analysis

8. PSYCHO:
“Parlor
Scene”
analysis
• Marion sits near and slightly behind the lamp so her face is
well lit.There’s somewhat of a radiant glowing warmth that
creates a softness around her and suggests she is
redeemable and is not all hard edges. Despite the fact that
she has embezzled from her employer, she is not hidden in
shadows of evil or consumed by the darker side of her
nature.
• Having Marion in light tells us that her redemption and
atonement is possible so when, at the conclusion of the
scene, Marion has done an about face we believe it.
(Remember that while Norman does not know anything
about her crime, the audience knows she now intends to
return the stolen money).

9. PSYCHO:
“Parlor
Scene”
analysis

10. PSYCHO:
“Parlor
Scene”
analysis
• As for Norman, Hitchcock positions him far from the
light source and slightly to one side.
• The effect is a harsh line--light and shadow--across
Norman's face, re-emphasizing the clash of his dual
personality (host/murderer, man/child, mother/son).
• This example of low key lighting results in an unnatural
starkness that indicates something is hidden.
• Back lighting and fill lighting are kept to a minimum,
resulting in sharp, angular shadows cast ominously on
the wall behind Norman and the ceiling above him.
• These contrasts emphasize that these two are NOT the
same

11. PSYCHO:
“Parlor
Scene”
analysis

12. PSYCHO:
“Parlor
Scene”
analysis
–
A STUDY IN
CONTRASTS
• Hitchcock also uses contrasting camera angles to
visually tell the audience much about the troubled
mind of Norman Bates.
• Marion is sitting comfortably in her chair and eating
her sandwich (the bait set by the spider?) .The
camera is near eye level so the audience sees Marion
as two people basically see each other while sitting
and talking.This particular “picture” conveys
normalcy and comfort on Marion’s part.
• Hitchcock, however, moves out of the expected
comfort zone to shoot Norman from a subtle but
still unnaturally low perspective.

13. • These two camera angles by themselves don’t
objectively mean anything – after all, this is how SHOT-
REVERSE SHOT works – we see one side of the
action/conversation and then we see the other. As we
discussed in class, SHOT-REVERSE SHOT is one of the
primary tools of FILM LANGUAGE and is used more
than any other piece of FILM LANGUAGE
“VOCABULARY”.
• It’s only when they are contrasted that any meaning can
be taken.This particular “picture” juxtaposition conveys
that Norman's world is skewed, off balance, out of kilter
while Marion’s is decidedly more normal and relatable.
• Again - these two are NOT the same
PSYCHO:
“Parlor
Scene”
analysis
–
A STUDY IN
CONTRASTS

14. PSYCHO:
“Parlor
Scene”
analysis

15. PSYCHO:
“Parlor
Scene”
analysis
• Marion is surrounded by scenic details that make her a sympathetic
and softer character.
• She sits at ease in her chair and in front of her is a tray with a small
meal prepared by Norman. On the tray is a pitcher of milk that is
white and has soft, graceful, and curved lines. Behind and above her,
the curved lines are repeated in a picture frame, and to screen right
is theTiffany lamp with its rounded shade glowing warm and alive.
There’s even a curve to the telephone handset.
• The walls behind her are likewise soft, brightly lit. Marion herself,
especially with the light color of her dress, the curves in her hairstyle
and her posture (not to mention her body itself), adds to the sense
that she is soft, pure, and “womanly”. Perhaps even maternal? Does
she remind Norman of his mother?
• And, as we see in the next scene, it’s these curves (as in her
sexuality) that will drive Norman to action.

16. PSYCHO:
“Parlor
Scene”
analysis

17. PSYCHO:
“Parlor
Scene”
analysis
• Like the camera angles, the "picture" of Marion in the parlor, has little
significance until it contrasted with the “picture” of Norman who sits
opposite her.
• Norman is immersed in straight lines, many of which are set at angles
that create a sense of conflict rather than curved line harmony.While the
curves of the milk pitcher help to frame the foreground of Marion,
Norman's arms rest on his legs while he nervously interlaces his fingers.
• To screen left and behind Norman's right shoulder stands a chest with
straight heavy lines, a contrast to the curved shade of theTiffany lamp.
On the walls hang small framed pictures, but these pictures have
straight frames. And while Marion is bathed in light, Norman wears dark
clothing and, because of the lighting, casts long shadows that we see
sharply striping the walls and ceiling.
• As the scene progresses and we move closer onto the characters, the
angle and way Norman is shot gets more odd/off-kilter and intense.

18. PSYCHO:
“Parlor
Scene”
analysis

19. PSYCHO:
“Parlor
Scene”
analysis
• Of course, the most unusual and curious feature of this
parlor is also the most obvious clue to the twisted mind of
Norman Bates – the stuffed birds mounted on the walls
and standing on the table and chest.
• The stuffed birds present a creepy image in the parlor,
appearing to hover around Norman like dark, sinister
angels. But the non-stuffed birds next to Marion are
decidedly sweeter and less threatening.
• "I like to stuff things," Norman says – a dark
foreshadowing of what’s happened to his mother. He
even compares his mother to a stuffed bird at one point –
they’re both “harmless”…and what’s Marion’s last name?
• “Crane”

20. PSYCHO:
“Parlor
Scene”
analysis
• Through the use of contrasts in lighting, camera angles,
figure/object placement, and set dressing/props,
Hitchcock lays out the core truth that these two are
NOT the same.
• In Norman’s parlor these elements come together to
great effect by using meaningful contrast. As noted in
IMAGES: AJournal of Film and PopularCulture, “the
scene becomes like Hitchcock himself who hides in plain
sight within his own films. Our fun is looking for what
lies in front of us. Hitchcock's fun is hiding it from us.”
• Here are three more shots that tell us - in visual
language - what’s really going on in the film.

21. PSYCHO:
“Parlor
Scene”
analysis

22. PSYCHO:
“Parlor
Scene”
analysis
• CHARACTER PSYCHOLOGY:
– Lots of subtext going on in the performances, dialogue and
script. For instance, Norman is really talking about himself
when he talks about his “mother”.
– A very important decision is made during the course of this
scene - Marion decides to return the money
• So you can ask yourself, “At one point in the scene does she
make this decisions? How do we know as viewers
(especially in retrospect) that she’s done so? Are there any
visual and/or contextual clues given to us through
performance and/or subtext?”
• And what about Norman? Did he know the entire time he
was going to spy on and then kill Marion? Or did he decide
to do so during the parlor scene? If so, when? What set him
off?

23. PSYCHO:
“Parlor
Scene”
analysis
• OTHER ANALYSIS MATERIAL:
– The repeated use of mirrors
– The repeated use of looking directly into the
camera & at the audience/voyeurism
– The use of credits, music, and sound in
PSYCHO
– THE ARTWORK

24. PSYCHO:
“Parlor
Scene”
analysis
• THE ARTWORK:
• 1731 painting Susanna
and the Elders by
Willem van Mieris:
• This painting depicts
the story of Susanna
and the Elders.The
story of Susanna,
found in Chapter 13 of
the Book of Daniel in
the Catholic Bible.
While she was bathing,
two elders came out of
their hiding places and
threatened to
blackmail her if she did
not give in to their
sexual demands.

25. PSYCHO:
“Parlor
Scene”
analysis
• THE ARTWORK:
• Titian’s Venus with a Mirror:
Cupid holds up a mirror as
Venus poses, smiling with
satisfaction at her
reflection. the painting not
only connects Marion to an
idealized vision of feminine
beauty, but also alludes to
the relationship between
Venus and Cupid, an
ambiguously sexual mother-
son relationship parallel to
the one Norman is
describing to a disquieted
Marion. Later, we will see a
small statue of cupid in the
foyer of the Bates house.

26. • PSYCHO was a book first (1959)
• FILM SEQUELS &TV PREQUELS
• REMAKE: In 1998 filmmaker GusVan Sant (GoodWill Hunting,
Milk, My Own Private Idaho) remade PSYCHO.
• AlthoughVan Sant’s version is in color and is set in 1998, it is
closer to a shot-for-shot remake than most remakes, often
copying Hitchcock's camera movements and editing, and
Joseph Stefano's script is mostly carried over. Bernard
Herrmann's musical score is reused as well, though with a new
arrangement by Danny Elfman and recorded in stereo. CAST:
VinceVaughn plays Norman, Anne Heche plays Marion,
Julianne Moore plays Lila,Viggo Mortensen plays Sam, and
William H. Macy plays the private detective.
PSYCHO: other versions

27. PSYCHO:
(1998)

28. PSYCHO:
78/52
Documentary
•THE SHOWER SCENE
–The documentary “78/52”
takes a deeper look at
PSYCHO and the most
famous scene in the film
–It is a great example of film
analysis and appreciation
that I think you all, as film
students, will really enjoy