The three voices were used interchangeably, except for the last speech, which was performed by Gregg. Each had deceased, domineering mothers, had sealed off a room in their home as a shrine to her, and dressed in women's clothes. However, unlike Bates, Gein is not strictly considered a serial killerhaving been charged with murder only twice. Peggy RobertsonHitchcock's long-time assistant, read Anthony Boucher 's positive review of the novel in his "Criminals at Large" column and decided to show the book to her employer, even though studio readers at Paramount Pictures had already rejected its premise for a film.
Such an ideal spectator, even when watching a film for the very first time, is acutely aware of all the different shots and scenes, which are otherwise a single-narrative cinematic projection.
This generates the conscious awareness of their relevance to each other within the whole composition of the film. Not only is such an ideal spectator able to consider these multiple film interpretations of different scenes and shots in a wider complex of the whole film, but also at the same, they are completely sincere in the self-projection of individual feelings that a viewing of a film generates.
Therefore, it is reasonable and very possible to make a thorough textual analysis of a film, assuming the existence of an ideal spectator. With this initial proposition of the existence of an ideal spectator, it can also be inferred by means of assumption that an ideal spectator can also make a significant guide for a film studies student.
Since the history of film studies is still rather short, such a student is given relative interpretative freedom in the use of their intellectual faculties.
Therefore, first of all, a film studies student is to set their sights on becoming an ideal spectator, and through this self-educational process they are to acquiesce themselves with the economic, cultural, and historical factors concerning film production in order to be able to eventually enjoy exploring the mechanism of the film and its textual interpretation in a more refined and imaginative way.
The reason for alluding to the process of education and exploration, although it may distract the reader from the main objective of this essay, is to stress and underline the two major sources of cinematic stimulus that arouses the intellectual interest in watching films.
And these interests are intrinsically defined as well as motivated by two kinds of film analysts: Film critics induce us to go and see new and interesting films. Film scholars inspire and encourage us to have another look at those films that we have already seen in order that we may be able to come to not only appreciate the textual richness but also the potent meanings that we may not have been able to grasp at the first viewing, and therefore enjoy the cinematic text in more depth and with much more refined intellectual and emotional richness.
Film critics urge us to movie theater; film scholars to self-project introspection. Films were originally considered as transient products. In the film business, a degree of freshness was the top priority.
In other words, films were treated as a sort of weekly magazine. Therefore, the ideal spectators are those groups of people who are eager to watch films straight after they are released.
Consequently, these committed cinemagoers must have relished each occasion of viewing a new film and must have savored it with a real cinematic taste.
This essay, therefore, makes a thorough film analysis by means of assuming not only what the ideal spectators of the time thought about the film, but also how they could have reacted to the cinematic projection, its filmic narrative and texture.
Namely, how they received and enjoyed a film when it was screened for the very first time. Nevertheless, it is my belief that this kind of experimental analysis should become a significant step for our future film studies.
However, they have all in common the aspect of linearity. In a film, the editing matches temporal relations from shot to shot, from scene to scene; it is a crucial structure for maintaining a succinct narrative form.
The spectators have no choice but to follow the linear progression of the filmic narrative through the compilation of cinematic images. They cannot skip over some parts or go back to already viewed shots, unlike reading novels and comics.
Paradoxically and yet generally, some filmmakers have taken advantage of this particular and restrictive system to cause a particular effect on the spectators. Alfred Hitchcock is one of the film directors who successfully use this particular restrictive narrative system in order to successfully manipulate the spectators, re-defining the concept of linearity in the cinematic projection.
And it is this subtle manipulation that Alfred Hitchcock uses in the construction of Psycho, and its filmic narrative that shocks and unsettles the majority of spectators. This essay will therefore discuss this exceptionally experimental Hollywood film, and especially the relation of the filmic narrative and the filmic texture.
Psycho, a modern horror film, was produced by Paramount with Universal Pictures managing its production. Universal has been regarded a distinguished horror genre production company ever since the early s. Psycho was released in But how were the spectators able to overcome these overwhelming cinematic emotions presented through the particular narrative structure?
And hence what were the intrinsic cinematic mechanisms that caused such an effect in the spectators and why to such a degree of intensity? It is an act completely unexpected by the spectator, and therefore its sudden unanticipated reality mystifies and frustrates the spectator.
The heroine is stabbed to death by an unidentified person, and the film provides neither reason nor additional information of the abrupt murder. This sudden act of removing the heroine from the narrative puzzles and petrifies the film spectator for two reasons.
When she is stabbed to death in a motel shower room, they go through not only with the projected moment of the murder scene but also experience identical causative psychological feelings as the heroine does.Submarine Film Extract Analysis Film Studies Essay.
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The Evolution Of Animation. A Literary Evaluation Of Pulp Fiction Film Studies Essay. When asked what they remember from the original Psycho, most people would say that the shower scene was the part of the film that they remembered most.
In this essay I will be analysing this famous scene but from the remake directed by Gus Van Sant. The remake of the film, created in the nineteen. Psycho Workbook. Tips for Responding to Questions At the beginning of a film, for example, you might see an extreme long shot of a city.
Then, we might cut As aspiring ﬁlmmakers, it is important to consider how Alfred Hitchcock encourages us to sympathize with particular characters. Sample Response Midway through the film, we are.
The Film Analysis Of Hitchcocks Psycho Film Studies Essay Psycho is a prime example of Hitchcockâ€™s unparalleled knowledge and know-how of psychological thrillers. In the following essay, I .
Film Studies and GNVQ Media: Communication and Production (Intermediate and Advanced). cinema-going public in , when he decided to make Psycho, his 47th film. Hitchcock’s directing career started in By he was one of Hollywood’s best-known personalities.
His films often contained. Hitchcock was the master of suspense, and Psycho was perhaps his most controlled film. Every element of the film was designed specifically to manage and manipulate audience expectations.