Hitchcock's Manipulation of the Audience's Point of View in the Shower Scene in Psycho

The term “mise en scene” carries the original meaning of “putting into scene” and was a term that signifies the director’s control of visuals and events in the frame. There are several aspects in mise en scene. Aspect such as setting, lighting, costume and behavior of figures were controlled to allow the director to stage the event and create the overall effect within the frame.

Fifty years ago, a person breaking the law would either be called crazy or a criminal. Today, the mental health community has much more specific diagnoses. However, the explanation of certain behaviors may be difficult because there is much overlap among mental conditions. In Bret Easton Ellis’ American Psycho, the protagonist, Patrick Bateman, is apparently simply a psychopath. However, Bateman can be diagnosed with other mental illnesses such as Asperger’s syndrome, obsessive-compulsive disorder, schizophrenia, narcissism, and antisocial personality disorder. In both the book and film adaptation, Bateman’s actions can be understood more accurately when analyzed in light of modern psychology.

Exploring How Alfred Hitchcock Manipulates The Audience In Psycho Alfred Joseph Hitchcock is thought to be, by most, the greatest film director of all time. He was born in Leytonstone, London on13 August 1899. He directed many great films such as The Lodger, The Birds, Sabotage, Notorious, Rear Window, and of course one of his greatest achievements ever, Psycho in 1960. He directed the first British sound film - Blackmail.

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

Alfred Hitchcock also used cinematography in a uniquely stylizing way. Hitchcock not only uses the camera to create dramatic irony, but he also uses the camera to lie to the audience and create anxious suspense. For example, in his film Psycho, when Marion is in the shower Hitchcock frames the scenes very tightly. Marion is in a confined and very personal space. This makes her incredibly vulnerable. Then Hitchcock heightens the suspense by creating dramatic irony with the reveal of a shadowy figure closing in on Marion, unbeknownst to her. This creates a lot of anxiety for the audience, knowing the protagonist is vulnerable and in danger with no way of altering the inevitable. Hitchcock then manipulates the audience by “revealing” a brief silhouette of an old lady as our shower killer. Hitchcock uses this “reveal” to lie to the audience, he makes the audience think they have more inside knowledge confirming their already growing suspicions, when in reality the audience is misled entirely and the murderer was Norman all along. The way Hitchcock uses the camera to reveal both inside information and misleading information truly keeps the viewer engaged and not knowing what to believe until the truth is finally revealed. By using this unique technique of controlling the audience by only showing what he wants you to see, Hitchcock masterfully defies expectations and creates suspense.

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

The neighbors in this clip from “Rosemary’s Baby” are the pinnacle of weird behavior. This movie was made in 1968 adapted from the book “Rosemary’s Baby” written by Ira Levin. The story is about a girl named Rosemary, who recently has had a baby. Her husband is a small time actor whose success is just starting to pick up. There neighbors, the Casavets seem very nice at first, but this changes extremely fast when she realizes they are Satanists. This part of the film shows Rosemary holding a knife. She wants her child back from these creepy people. They had given her sedatives and according to the people there she took too many and was going crazy. She goes to look at her baby only to see its eyes are cut out. She screams and Mr. Casavet says, “He’s got his fathers eyes” referring to Satan. They keep talking about how her son is the son of Satan and they keep saying how “God is dead.” It is a very eerie seen that creates a chilling mood.

Alfred Hitchcock’s film Shadow of a Doubt is a true masterpiece. Hitchcock brings the perfect mix of horror, suspense, and drama to a small American town. One of the scenes that exemplifies his masterful style takes place in a bar between the two main characters, Charlie Newton and her uncle Charlie. Hitchcock was quoted as saying that Shadow of a Doubt, “brought murder and violence back in the home, where it rightly belongs.” This quote, although humorous, reaffirms the main theme of the film: we find evil in the places we least expect it. Through careful analysis of the bar scene, we see how Hitchcock underlies and reinforces this theme through the setting, camera angles,

The psychoanalytical lens helps us as the readers to better understand the characters and their actions throughout the book, One Flew Over the Cuckoo’s Nest, but first we have to understand what exactly the psychoanalytical lens is. The psychoanalytical lens has to do with the ID, Ego, and Super Ego. The ID has to do with people’s natural instincts. Most of the time people don’t even realize they’re using their natural instincts and there’s nothing they can do to change them. In a way, it’s like a new born baby. Next there is Ego. The Ego has to do with figuring out what’s best for each person and not worrying about anyone else besides one’s self. People ask their self, what’s going to make them feel the happiest? It’s almost like they’re being

“I feel lethal, on the verge of frenzy. I think my mask of sanity is about to slip" (Harron) thought Patrick Bateman as he contemplated his growing feelings of emptiness and need for bloodlust. American psycho is the story of a greedy, materialistic, self obsessed businessman who transforms into an unstable and violent sociopath. Abnormal behavior can be defined by four patterns deviance, distress, dysfunction, and danger (Comer 2). Deviance is exhibited as unusual, or extreme behavior. Throughout the movie, Bateman was very blunt and would casually say violent, graphic comments. The only time Bateman experienced distress was towards the end of the movie when he couldn’t stop killing. He began to panic, called his lawyer to confess, and didn’t go into work. However, most of the time Bateman said he enjoyed the rush of a kill. Typically, abnormal behavior interferes with the person's ability to conduct daily activities (Comer 2). As a result of Bateman’s abnormalities he could not sustain a healthy relationship. The most extreme characteristic of Batemans abnormal behavior was that it caused him to put others in danger.

going back to the other views to see where the policeman is and how is

In this essay I will be doing a close analysis on the famous shower scene in Alfred Hitchcock’s Psycho, 1960. I will be looking at the mise-en-scène, performance, cinematography, editing, and the manipulation of sound. I will also be looking at themes that are explored in the film and what messages they convey to the audience. I will be using some theories to help analyze this particular sequence.

Alfred Hitchcock’s thriller ‘Rear Window’ (Hitchcock, 1954) begins with the immediate use of mise-en-scène in order to establish a sense of atmosphere, equilibrium and the mundane, soon to be disrupted as the events of the film unfold and are observed through the eyes of the voyeuristic protagonist, Jeff. Setting, cinematography and various other expressive mise-en-scène techniques work together to influence the overall appearance of the film. Though, by taking a closer look, these techniques reveal the significance of the narrative and characters. In the opening sequence, Hitchcock’s original visual style provides signposts for the audience to recognize what will be significant in the future: instead of establishing what is only happening in the moment in time; mise-en-scène is used to suggest what is to come. This arrangement of the “Classical Hollywood” narrative - starting with the setting and characters in a state equilibrium - acts as a seemingly all-purpose, archetypal opening by establishing location and introducing character. Simultaneously we can see that this sequence is vastly different from the rest of the film: it is leading the viewer into a false sense of security – the calm before the storm – as Jeff soon happens to piece together information leading to the possibility that one of his neighbors murdered their wife. This sequence is one of the only moments in the film we see things the protagonist does not, thus this carefully constructed opening is preparing

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.

In The Uncanny, Freud discusses the different definitions and claims that various theorists have made regarding the feeling of uncanny. He defines the different factors that provoke the uncanny in humans and demonstrates how these factors elicit that strange and seemingly inexplicable feeling. Similarly, in Vertigo, Alfred Hitchcock, adopts the various factors that cause the uncanny to alter Scottie’s identity and beliefs. Ultimately, when Scottie is transformed from a rational being to a psychotic obsessive, it serves to indicate the severity of Scottie’s mental instability and his detachment from reality.