Alfred Hitchcock - Case Study

In Alfred Hitcock's famous thriller - Psycho, 1960 - he encorporates many different techniques throughout. Thesae techniques allow us to subconsciously see into the rest of the film. They force our minds to make judgements, and provide extensive detail into the matrix of the film. Throughout this essay, I will be analysing Hithcock's techniques in three diferent scenes, and exploring just what makes this film one of the greatest in cinema history.

Scene 1

The first scene I will be analysing is the policeman scene; as Marion stops for the night at the side of a country road, she is joined by a menacing-looking figure of authority. At the begi8nning of the scene, a long shot is used. It seems to suggest someone is looking at her from a distance, which would reflect the idea of paranioa which the policeman would inflict on her currently fragile mind. The mise-en-scene of this shot tells us a lot about Marion's current mental position. The clear skies and peaceful fields that are involved in the shot connote freedom, as the countryside seems to offer a place that's away from the rest of civilisation. This therefore provides a paradise that enables her to clear her conscience. \nevertheless, the car proves to look out of place, as the black colour of the car is in total contrast to the surroundings. This suggests Marion is trying to almost disappear into the background, however is unable to because of the byrden she possesses.
As the policeman approaches the car, one thing I noticed was the use of binary opposition - strong, authoritive figure of the policeman compared to the vulnerable, fragile Marion. This really emphasises the position she is in, which enables us, as the viewer, to recognise her almost as a victim. This of course would reflect the proceedings of the film. A reaction shot is also used of Marion, after the policeman knocks on her window. Hitchcock used this shot to allow us to see the panic and paranoia that she felt as she saw the policeman. It positions us with her, and allows us to almost sympathise for her. This shot also ends up being a close up of Marion';s face from an angle so as the viewer is looking down onto her. This again puts her in the spotlight and emphasises her vulnerability. Hitchcock emphasises the importance of expression Marion's vulnerability and innocence for the majority of the time she has in the film.
As the policeman peers into the window, an incredible POV shot is used og him. This shot defines his position of authority as the threatening close up puts us oin the shoes of Marion. He is almost peering into her life, as the car symbolises her cinfinement and inability to escape from the situation she has got herself into. The mise-en-scene is also a key focus in this shot. The large, dark shades seem to cover a lot of his face, whic almost inflicts fear, as you are unaware of what lies behind them. In addition, the square-jawed, patriarchal WASP looks reflects the traditional steriotypical figure of authority, of which is typical of this time period.

Scene 2

The second scene I will be analysing is the scene of which the troubled Norman Batesd invites Marion into his parlour for a comforting supper. The mise-en-scene used in this scene is crucial towards the regognition of Norman's state of mind, whom at this time I suspected little of him in terms of mysterious behaviour. The use of stuffed birds resonates the feeling of threat of which Norman may be towards the innocent and unsuspecting Marion Crane. This is created by the birds seeming to be pouncing on prey, such as the first POV shot shows when Marion enters Norman's parlor  This enhances Marion's vulnerability, as well as reflecting perhaps Norman's inner predator.
Another technique used in this scene is the incredibly well manoeuvred shot - reverse shot sequence. To start with, Marion is accompanied by the lamp - the only light source in the room. This could perhaps reflect Norman's conscience, as he is seeing her as almost shining a new light onto his monotonous life. This nevertheless leads to her abrupt death, as the mother inside of him takes over to destroy any feeling he may had for her. As well as that, the shift to a low angle shot on Norman suggests that he has suddenly become dominant and powerful. This occurs after Marion addresses the way that his 'mother' speaks to him, therefore perhaps reflecting the protection of which he provides for her. This change in angle also creates a completely contrasting mise-en-scene to the previous shot. Firstly, the birds in the background seem to be overlooking the conversation, which could echo the power which the mother has over Norman, especially as it arises over a concern involving her. This therefore leads the viewer to believe that she is always watching them, which in a way she is, and results in the overpowering of Norman over Marion of which we experience is some elements of the scene. Secondly, the nude picture behind Norman connote innocence as well as being exotic, which is in contrast to the menacingly stuffed birds. This contrast could reflect the two sides of Norman's troubles psychological state of mind. On one hand you have the murdering, mysterious mother side to him which is represented by the owl, whereas on the other, you have Norman's charming, caring self of which has been expressed towards Marion and is represented by the pictures. They could also be foreshadowing events later in the film, as they link to the events in the shower scene which of course follows on from this scene.

Scene 3

The final scene of which I will be analysing is the famous shower scene. Hitchcock used an incredible number of techniques in this scene; therefore I am going to pick out the most important and influential, in my view.

First of all, the use of white tiles in this scene connotes innocence and cleanliness, which really reflects Marion's state of mind at this point. She finally seems to have overcome all of her troubles, and the white, stainless tiles echo the 'clean slate' from which her new life can be built on. This subtle technique used by Hitchcock again reflects how he uses the mise-en-scene to allow the viewers to see into Marion's head. This is perhaps one of the main contributors towards making this film one of the best in cinema history. In addition, the white colour almost leaves an empty space for someone or something to fill. This leaves us to believe that an event is going to happen, which increases the tension and anticipation of the audience. This masterpiece of a scene has influenced cinema right until this day. In fact, recent programs such as 'The Simpsons' have manipulated this into their own work.
Another technique used by Hitchcock in this scene is the use of the rule of thirds. This is used twice in this scene, the first being a dramatic irony, where the silhouetted figure of the killer opens Marion's bathroom door. This effect gives the viewer a feeling of fear, as the shower curtain distorts the figure making it almost ghost-like. This technique also focuses on the shot onto the figure, especially as the camera pans towards it. this creates expectation and also vulnerability as we are being forced towards the danger. In addition, it creates another binary opposition; the clean, white, innocent Marion is in contrast to the dark and mysterious body on the other side of the shower curtain. This allows us to sympathies for her, as we know that no good will be resolved from the presents of this mysterious body. The second time the rule of thirds is used is after the stabbing, where Marion only fills a small proportion of the screen. The technique, in this case, is almost distancing her from the 'clean slate' from which the tiles represent. This is shown as she has her back to them, and therefore distinguishes her from her new life. In this film, this technique is used to very good effect. Hitchcock doesn't overuse them, which gives off an even greater impression in the times that he does.
Another technique I picked out as one of the most important in this scene is the use of accelerated montage during the stabbing sequence. The flash-cuts increase the pace of the sequence, and therefore entices the viewer. There are also many different shot types included in the montage. One of which is a top shot. The shot, in this case, is used for disorientation as it gives a completely different angle on the proceeding events. In addition, extreme close-ups of Marion's face connotes pain, both mentally and physically, as it emphasises the straining of her mouth. As well as that, a low shot is used of the killer, which expresses the dominance and danger which it radiates. This technique is a crucial one in considering why this scene is an notorious as it has become.
In conclusion, lots of influential techniques have been used in all of these three scenes in Psycho. They are the pinnacle in determining why this film is as famous and as well-known as it is.