An Analysis Of Psycho Essay Research Paper — страница 2

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desires that possess our minds. Hitchcock explains that the line between our “normal” behavior and Norman?s “abnormal” behavior is a fine one, easily crossed. As the camera zooms in on the Sam and Marion, they embrace each other and lie down on the bed. While they have quiet conversation and continue to caress each other with soft kisses, the camera slowly moves in a circular motion half-way around the room as to not constrict us to only one view of the couple (again fulfilling our erotic desires). They go on to talk about the frustrations of their love life in the dark room. The camera does not anticipate the actors? actions in the next shot. Marion gets up and a cut is made to a medium shot of her in the foreground dressing while her lover sits in the background by the

window (blind still down). Both are in focus. Marion begins to speak in a despondent fashion, implying she will not settle for meeting Sam during lunch break in a cheap hotel any longer. She asks him to act more respectable, to go home with her and meet her sister (the only mentioned family of Marion), and to meet her in public. Her melancholy attitude matches the obscurity of the apartment room we have grown accustomed to. As they speak on the subject and Sam tries to joke about the matter she takes so seriously, the camera switches back and forth between their faces using close-up shots. By using these separate close-up shots and abandoning the medium shot that incorporated both of them, Hitchcock illustrates the mental barrier that has risen between them. Finally Sam gives in

to Marion?s wishes, and with a shrug of the shoulders he answers, “All right.” Just as he responds, subtle music begins to play, symbolizing the arrival of hope. Marion and Sam embrace in a medium shot, after which Sam retreats to the background by the window again. As he rips the blind open, allowing daylight to pour into the room, the music comes to a sudden stop. Soon after, they begin to speak hopefully of marrying in the future and working things out between them. In this sense, the light from outside symbolizes good, optimism, and happiness. However, with this new addition of light, we can now see more dreary details of the room, including a cheap piece of pottery, a beaten up bureau, and rather ugly walls. Now it seems the hope shown by the daylight will be subdued by

the ugliness and gloom that it reveals (as it obviously does at the Bates Hotel while Marion is on her way to see Sam). Also, by stopping the music in an unexpected fashion when the blind is opened, Hitchcock seems to suggest that everything will not be OK in the end and that the daylight does not represent good fortune. The opening sequence ends as Marion exits for work. The music fades away and the shot dissolves into the Lowrey Real Estate office. Psycho opens its first sequence in medias res, bringing us into the middle of a complicated love affair to serve as the foundation of the film. The exposition shows us a couple facing the complications of marriage and implies we will be taken further into this subject in order to reveal the plot in its entirety. Hitchcock

successfully uses the credits, music, and lighting as well as long, medium, and close-up shots to create a stable and interesting foundation on which to build Psycho. Shot Sequence of the Opening Sequence in Psycho SceneShotTime(s)Action 1115Panning LS of Phoenix 28Panning LS of Phoenix, slightly closer than before 34MS zooming in on window 49CU zooming in under the window into darkness 213MS of Sam?s torso and Marion laying on bed 21CU of table with various items 312MS of Sam and Marion embracing and talking on bed 430CU of the couple on the bed SceneShotTime(s)Action 2521MS of Marion in the foreground dressing while Sam sits in the background by the window. Both are in focus 61MS of Sam by window 71CU of Marion?s facial expression 815CU of Sam embracing Marion from behind 95MS

of Sam pacing due to frustration and opening the window 102CU of Marion 111MS of Sam at the window 121CU of Marion 133MS of Sam by the window, speaking of his debts 142CU of Marion, responding SceneShotTime(s)Action 21515CU of both people embracing 161CU of an emotionally hurt Marion 172CU of Sam at the window pondering 182CU of Marion 191CU of Sam 201CU of Marion 213CU of Sam 222MS of Marion crossing the room to Sam 236MS of Sam and Marion saying goodbye 241MS of Marion exiting through the apartment door