Tyler Bates

seek anything that you could think of for children to do. When the food was ready we gathered together and said prey and feast. After dinner was served everyone went to movie room for family time. We watched a movie called Madea's Family Reunion by Tyler Perry. The Movie reminded me so much of my family. It let me know that family is everything and no family is perfect. We just have to learn to stick

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. Alfred Hitchcock once said, " Audience reaction

talented director with unique ability to twist the audience's opinions and play on emotions with the greatest of ease. In the shower scene in Psycho, The first shot he chooses to give us is of a voyeuristic one. He show us Norman Bates moving a picture aside so that he can peep into the room

character that brings along disgust, horror, suspense, and even sympathy. In Alfred Hitchcock’s Psycho (1960), our monster is Norman Bates, the boy next door. This was one of the first times in American cinema that the killer was brought home, paving the way for the future of horror movies. According to Robin Wood in “An Introduction to the America Horror Film” (183-208), Bates follows the formula of the Monster being a human psychotic. This is conveyed through his normal façade portrayed with his introduction

Realised for this, psycho has been copied in many ways and the things that made it great have become very clichéd. From the very first scene in psycho, it is clear that the viewer will be sucked into the world of Marion Crane and Norman Bates. The opening shot is an aerial shot from the sky, pausing momentarily and

Fear and Confusion in films Psycho and Carrie In horror films, there is always one scene that opens up the perceived realm of normality to that of fear and confusion. Directors and authors alike use these scenes to show the change in the pace of the film. In both the movie Psycho (1960) and Carrie (1976), shower scenes are used to mark this epic turning point with sexuality, blood and voyeurism; the most important ingredients to horror. The idea of sneaking around

Hitchcock's Psycho Psycho first hit our screens in 1960 directed by Alfred Hitchcock. It faced major controversy, as it was different. Horror films before this were more unrealistic and gruesome. Psycho was a groundbreaking film of the horror genre. It was more realistic the events could happen in reality. Censorship was very strict at this time. Film standards agencies censored films showing sex before marriage, nakedness, violence and gore. Fortunately, Hitchcock

by the Sutherland Shire Council. Cronulla’s coastal environment is on the Kurnell Peninsula, which is made up of a tombolo. A tombolo is a sand spit connecting a rocky outcrop or island to the mainland. So this forms a barrier between Botany Bay and Bate Bay. The two areas of study visited were Wanda Beach and the Greenhills Beach development. A healthy dune system contains a primary and secondary dune defined by the start of vegetation as you progress from the swash and berm. The vegetation helps

Alfred Hitchcock’s motion picture Psycho, released in 1960, contains peculiar placement of predatory birds and other fowls with corresponding lines regarding birds from Norman Bates, the primary antagonist. Throughout the movie, various references concerning birds are can be drawn through the use of bird’s eye view camera angle, location names, and character names. As the movie begins, the first camera angle used is bird’s eye view. Viewers venture, bird-like, into Marion Crane’s apartment complex

One peril from bringing a wide-ranging scope into this argument, is the need to then reassert how this would assert itself, with comparisons from which we’ve analyzed, and understood the sublime better. The “where” and “when” would at least improve, by habits exhibited today. Reserving it and “beauty” as synonymous terms might have once been serviceable, but after what Burke and Shaw went about to put in place, this acceptance of the darker, more drastic sides of our world is almost, itself, compelled