The Classic Film Psycho : Directed By Alfred Hitchcock

Nearly everyone in the world can be classified with some sort of mental or psychological disorder, whether it’s a big “problem” or just something small and rather unnoticable. Since film making became possible, people have been producing movies with a character that has some sort of psychological or mental disorder. Within the last 20 years, American Psycho, Shutter Island, and The Black Swan, have all had strong in their message and meaning in the mental disorder community. American Psycho and The Black Swan deal with borderline personality disorders in both of the main characters, while Shutter Island is more about post traumatic stress disorder and dissociative identity disorder. Movies dealing with characters with mental or psychological disorders are harder to portray, but if they can be portrayed correctly, they are likely to be some of the best movies you have ever seen.

As Marx’s states in his theory, when the working class becomes aware of their exploitation, this will result in a revolt lead by the proletariats. The major theories studied by Marx can be used to analyze the characters and situations presented in the film.

Shocking audiences of the 1960’s, Alfred Hitchcock’s ‘Psycho’ is one of the most influential films in motion picture history, often being referenced to as the the origin of thriller films. Hitchcock successfully incorporates cinematography, music, and multiple techniques, rendering the perfect amount of tension and suspense right until the climax of the film. Thus, evoking the thrill after which the genre is named.

Like many of his films, Alfred Hitchcock’s Rear Window (1954) is an intense study in the sometimes-jarring idiosyncrasies of its main character, L.B. Jeffries (James Stewart). Jeffries is an observer by nature, a professional photographer confined to his apartment by an injury, with only insurance company nurse Stella (Thelma Ritter) and his girlfriend, Lisa Fremont (Grace Kelly) for company. This limitation impels him to begin observing his neighbors, and he witnesses events that lead him to believe Lars Thorwald (Raymond Burr) has murdered his wide. However, Jeffries’ watchful habit raises serious questions about the relationships between neighbors and ethics of observation in densely-populated urban settings. Rear Window uses set design and disparate camera techniques to codify the acceptable and unacceptable ways in which a city dweller might observe their neighbors, based largely on level on intent.

The 1960's marked a big change in American cinema. With the collapse of the Hollywood Studio System came a weakening of censorship laws; sex and violence moved from obscurity to the forefront of mainstream cinema (Nowell-Smith 464). Although it quickly became clear that a market existed for such films, the earliest attempts to foray into the world of modern cinema were met with ambivalence. Alfred Hitchcock's Psycho, made in 1960, was one of the first of many to depict sexuality and violence in a graphic manner (Nowell-Smith 491). Although the youth market was ready for such a change, the older audience resisted the modern trends. For this reason, Psycho was

An example of imagery in this novel is fire. They use fire as a danger. The burning of the books was making the people mad, so the protest started. “The woman's hand twitched on the single match switch. The fumes of the kerosene bloomed up about her”. The lady who is protesting the burning of the books so she burns herself alive. This is showing danger because she is burning herself and a risk because she is taking a stand for her

Let’s get this clear about the only certainty that was in Psycho, was the first couple seconds of the movie when it displayed the location and the date. Everything else known to be “true” later on ended in a twist. For example, take the cover of Psycho, at first glance many may assume that Marian Crane, the woman on the cover, is ultimately the main character, the protagonist, the hero. If the cover didn 't help out the opening scene was revealed two characters a man (Sam) and a woman (Marian) who appear to be in love. We have identified the main character Marian and we have identified the problem or goal a protagonist must achieve in a movie, obtain money so Marian and Sam can get married. Then we see Marian at work, where a rude, self-pleasing, arrogant, rich man enters bargaining about himself and his daughter 's wedding. Marian is then presented with a task deliver the money to the bank. Hitchcock has successfully set the bait and hooked the audience into backing Marian in any decision. She’s doing it for love right, and the jerk has plenty of money anyway. After watching the entire movie I began to realize the true brilliance of Alfred Hitchcock, because, of course everyone loves a hero good, let 's kill her 40 minutes into the movie and this is where things became interesting the structure of the film. Doubt begins to creep into the minds of the

All films, regardless of their intended purposes, tend to capture a piece of history and culture within them. Film’s ability to capture images and produce a visual is truly unique, as other methods of storytelling, such as writing a book, fail to truly encapsulate the human experience. Using an aesthetic lens, film directors essentially preserve time, and bring us back to our roots. Through masterful manipulation of the aesthetic properties of film, Milos Forman succeeds in illuminating the historical and cultural significance of One Flew Over The Cuckoo’s Nest, making it worthy of placement in the National Film Archive.

The film, Confessions of a Sociopath, was made by the critically acclaimed director Joe Gibbons. Joe Gibbons is famous for his experimental films, and this film is perhaps his best project to date. The film is an hour long and takes the viewer through real life events that have occurred in Joe’s life. In the film, Gibbons acts as a fictional version of himself where he finds a room full of footage from his life with events that he can no longer recall. The film describes his earlier film experiments, his descent into constructive behavior and his bottoming out on drugs and alcohol. It is intriguing to see a side of a well-known film maker that no one would have thought existed. The film is also greatly intriguing because it is not made in the traditional professional way. The viewer is taken through a series of events that seem normal and completely unscripted. It is also clear that most of the events in the film were shot without the assistance of professional cameramen and directors save for Gibbons himself.

One of the philosophies that Hitchcock tackles is that of Sigmund Freud. Freud is known for psychoanalysis and his interpretation of dreams. Specifically, Freud’s theories can be seen

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

This paper looks at the movie; A Dangerous Method directed by David Cronenberge is based on true life events that happened on the eve of the World War 1. This movie brings out the theories, techniques, and the central characters in the early history of psychoanalysis. It brings out the effectiveness of psychoanalysis method and shows the risks and dangers encountered when entering the unconscious mind. This movie takes a look at these through the life of Carl Jung who was one of the founding fathers of psychoanalysis. It also takes a glimpse into the turbulent relationship between a doctor, his mentor, and his patient. The paper will begin by giving a short

‘The Grand Budapest Hotel’ (Wes Anderson, 2014) combines a perfect mix of nostalgia and history. The film explores the themes of war as it recreates history through mise-en-scene. Anderson also incorporates other themes such as racism and elitism during pre-war Europe. The film widely explores Europe from many viewpoints, one of which is of Mr Moustafa. His nostalgia is seen through flashbacks of when he was a lobby boy that went by the name of Zero. As an audience the depth of his nostalgia is seen through mise-en-scene. With the help of cinematography and props we see can see the time and place that Moustafa acknowledges. Anderson shows how history is reimagined through ones nostalgia. Mr Moustafa recalls events, which he was not present in yet he explains them as if he were there. This also shows how one reimagines history from another due to emotions and personal attachment. Despite the outcome being the same there are many viewpoints it can be seen from.

Before the Psycho by Alfred Hitchcock made its way into theaters across the world, film was produced in a completely different way. Some of the elements that were in Psycho were things that nobody saw in movies before. According to Entertainment Weekly’s Owen Gleiberman, when the movie came out, it took place in “an atmosphere of dark and stifling ‘50s conformity” and that the elements of the film “tore through the repressive ‘50s blandness just a potently as Elvis had.” (Hudson). Alfred Hitchcock changed the way that cinema was made by breaking away from the old, “safe” way of creating a movie and decided to throw all of the unwritten rules of film making out the window. The main ways he accomplished this task was by adding graphic violence, sexuality, and different ways to view the film differently than any other movie before its time.

Alfred Hitchcock is widely considered one of the most essential directors of all time and has undeniably revolutionized the cinematic art form and horror genre movement. A key ingredient to his productions is the psychoanalysis of the movie’s villains and the deceivery at comes with deep psychosis. These elements are what have taken Hitchcock from a good director to a legend. Hitchcock layers his movies in ways in which every time one watches his films they can pick up on a new detail that deepens the meaning and effects of the storyline. This is exactly what he does in his 1960 film, Psycho. By layering Freudian psychoanalysis, creating a twist ending and suspense, and giving the villain of the story, Norman Bates, a deeply rich background story, Hitchcock creates phenomenon in the audience arguably scarier, then Norman’s murders. Through this use the psychoanalysis and backstory, the audience also feels sympathy for Norman. This duality is what makes Hitchcock a wonderful artist and Psycho, a piece of art.