Psycho Parlour Scene

In the scene when the killer enters the showers while Marion is taking a bath, the shower curtains acted as a screen to the audience’s sight and later in the film, the shower curtain was used to wrap up the Marion’s body. Another example would be the parlor scene where Marion was sited on a comfortable coach while Norman sat on an upright and formal wooden chair. The usage of furniture suggested character’s attributes, as Marion has a rather relax and open-minded personality while Norman being a tense and uptight

In creating the world of the play, the collaborates did justice in bringing out the scenery that the piece is set in. However, the collaborators used the stage design, lighting and costumes also to reveal the internal thoughts of the performers. The use of light was huge, it seemed to rely much on templates that created scenes of rain, green pastures and night sky. Though attributing to the play scenery, the use of lighting also brought out the differing emotions Rosemary and Anthony felt. The presence of death and grief were also addressed properly through the use of light, such as when Anthony father went into a bright light, a symbol of the afterlife. It allowed the audience to focus on each performer pivotal lines, which created for further understanding of the

Most of the actors are wearing darker clothing as well which makes their faces stand out even more. This lighting style also adds to the tension and the mystery of the scene. It makes the audience on edge. The contrast filled lighting of film noir is also effective at bringing out the extremes of emotions and thought. The darkness of the genre makes anything that goes wrong seem less taboo, because the lighting of the genre sets up the norms for the world that the film lives in—and in that world, bad things happen. The lighting of the film helps the audience understand the world that the characters are in.

In the movie each of the main characters, Norman who is eighty years old, Ethel who is seventy years old and Chelsea who is forty years old go through some of the stages of psychosocial development. The first character in the movie I will be talking about is Norman. I recognized him first from the movie because I knew something seemed wrong with him. For example, in the beginning of the movie him and his wife Ethel goes to their vacation spot and he sees a picture of them and doesn’t recognize who the people are. His wife had to remind him that it was them in the picture. He is very forgetful and it seems that his mental is not as strong as it

Lighting is used as a major technique in this film as it is often used to set the mood. Due to Vidal’s world always being shown enveloped in blue-grey hue, it immediately shows the viewers that is isn’t a welcoming place to be. This shade of lighting helps create a detached feeling which is in great contrast to the golden, homely, and warm lighting of Ofelia’s fantasy world portraying a safe and enchanting atmosphere.

Lewis uses lighting to dramatize the opening scene of the film and characterize the protagonist of the story. The most noticeable utilization of film noir lighting is in the beginning

Karl begins to tell his story under the soft light of the lamp. His story is accompanied by a strong and slow heartbeat. As the story is reaching its horrific climax, the heartbeat quickens, and with the last word of the story, the heartbeat now louder and quicker than ever, stops. The lighting creates a chilling moment in the movie. The constant use of lighting is most definitely contemporary noir.

Norman’s psychotic ways are also revealed through Hitchcock’s use of motifs. His repeated use of birds have an underlying meaning of Norman’s dangerousness. His hobby is avian taxidermy and in numerous shots birds are displayed in the background. A shot of when the mise en scene evokes his eerie connection towards his hobby is in the parlor. The parlor is decorated with his stuffed trophy birds mounted on the walls or on stands - an enormous predatory, nocturnal owl with outstretched wings, and a raven. Both owl and raven are in frame lurking behind Norman and representing his concealed character. Like the owl, he is a predator, in full attack mode on Marian. He also doesn’t wait until the daytime to kill her, he slays her in the shower at night like a nocturnal psychopath. As if with the raven’s knife like beak, Norman murdered Marian, following in the footsteps of killing when it is easiest.

Perkins uses cinematic techniques to juxtapose the Ryans with the Yang family on their way to church to portray the Ryans’ racism. The first time the families are seen on screen, the Ryans are sat atop a horse and carriage. Perkins has a high angled shot bearing down on the Yangs from the Ryans point of view, displaying their sense of superiority. Consequently, viewers are alerted to the Ryans racist tendencies. The use of camera angles and music show racism against Albert’s family by giving viewers the impression that the Ryans are refusing to acknowledge the Yangs presence. Perkins has used a close up of both Rose and Jims faces looking straight-ahead, deliberately avoiding eye contact with the Yang family to portray this act willful ignorance.

According to the Death Penalty Information Center, eighteen states have abolished the death penalty since its implementation (Facts About the Death Penalty). But what are the reasons behind doing so? Historically, public policy concerning capital punishment has shifted dramatically, from required capital punishment to jury nullification to a rise in the abolition of the practice. Public opinion has shifted alongside policy, with more and more Americans disapproving of the death penalty and the morality behind it, citing it as an inhumane and hypocritical approach to justice and punishment. I am with the the more progressive Americans that do not believe in administering the death penalty under any circumstances. Rather, I support life imprisonment or the insanity defense for capital offenses whenever appropriate. Capital punishment is ineffective because it lowers the state down to the level of the defendant, frequently discriminates against racial minorities and those of lower socioeconomic status, and it has been abolished in nearly every other modern democratic country.

I am writing about the use of lighting in the opening scene of The Godfather, (1). The

This intentional accenting create an effect on the audience of a growing tension that does not resolve itself until Tamino his face is illuminated by light and he realizes that Pamina is alive. This tension demonstrates the struggle that Tamino has with reconciling the truth with his beliefs. Branagh effectively details Tamino’s struggle with ignorance and then later with truth using visuals and sound that lend to build the theme of

Highsmith and Hitchcock use characterization as the central means of forcing the audience to develop a connection with the protagonists in both texts by using it to portray them as average people. The most obvious technique used in creating an engaging picture for both characters is the consonance in their names. Both Thomas Ripley and Norman Bates are short and average names, which are not likely to spark an interest in the reader’s mind. For this reason the reader is not able to have any preconceived notions of either character purely on a basis of their name. In both texts, the protagonists are shown as well-spoken young men with calm exteriors. Norman Bates and Tom Ripley are introduced as average young men, who also seems lonely and gentle, therefore the audience is forced to develop sympathy for his character from the beginning of the texts. They both wear modest, conservative clothing; Highsmith’s first description of Tom Ripley’s costume “a suit and a striped tie” suggests a moderate level of formality in his costume which during the time that the book was written (1955), would resemble the look of the everyday man. Norman Bates is introduced in pants, a

The coloring is a blue tone which symbolizes a despairing mood. Though the use of ambient lighting in the beginning of the film when Collins was with her son gave a gentle and complimentary effect, it progressively changed to a more unflattering effect as the movie unfolded. Editing during this scene involved a matched cut. First we see Christine and then the camera shows different views of the action around her. This editing technique was used to provide a sense of continuity and to highlight this important event in her life when she lets society know that the Los Angeles Police Department was not doing their job properly in discovering her son.

The lighting used by Hitchcock also serves to portray Madeleine as a fantasy woman, using the lighting to highlight her face. As Madeleine passes by Scottie in the restaurant she is bathed in a soft light which makes her all the more noticeable against the backdrop of a dimly-lit restaurant. Furthermore, as she passes by him, she is shown in a full body shot in the center of the frame, which Hitchcock uses to create an overwhelming sense of romance. Here, Madeleine is the desired object clearly separated from her mundane surroundings. The viewer is aggressively confronted with Madeleine’s image and this allows us to be swept up in the romantic fantasy along with Scottie. The lighting used in this scene actively draws the viewer to her features and ensures that all attention is on her. The audience are enticed and seduced by her and this stretches to Scottie as well as we can see that he is drawn to her and has to make an effort to be covert.