IB Oral Assessment - Psycho (1960)

For my first run at the IB Oral Commentary, the five-minute extract I chose to focus on within Alfred Hitchcock's Psycho (1960), was the renowned shower scene along with a couple minutes prior to and after. After doing some reevaluating and self-assessing, I think my oral commentary would deserve a grade within the 16-20 point range, based on the IB rubric. As I listened to my presentation, I realized that I kept stumbling and saying "uhhh" up to a point where I lose a bit of coherence. Also, at times I would ramble on about a certain topic and eventually lose my train of thought, therefore causing me to become repetitive. Nevertheless, towards the end I did begin to gain some re composure and keep my ideas detailed yet concise. In terms of content, I feel that my background information and analyses was quite insightful and thorough, when it came to discussing the use of symbolism, artisitc styles and influences. I also think there was a fair amount of film language and terminology within my oral commentary. I talked about the director himself and how his prior films and television series applied to his work in general. I also talked about the stylistic choices Hitchcock incorporated within this film, the production design, cinematography, editing and genre. I also discussed how Psycho was a film in which was so revolutionary within the film industry that it left a legacy behind due to the way it broke down barriers and created a whole new foundation for the horror genre. As I wrapped up my oral presentation I spent some time on explain why I chose to focus on the given extract. Although the level of my overall interpretation did not turn out exactly how I expected, I believe by analysis would suffice in terms of detail and comprehension of what went into the creation of this film. This IB Oral Commentary was a great way to prepare myself for next year's presentation, that of which will go to IB.

Film Language and Representation Post

Extract time frame: 45:00 - 50:00
  
After skipping town with the stolen $40,000 and a long drive on the freeway, Marion is currently residing in Bates Motel, after she had finished dinner and conversation with the owner, Norman Bates. As Marion sits in her cabin, she is adding up some numbers, involving the $40,000 but soon after flushes do the torn up paper down the toilet. Prior to flushing down the pieces of paper, Marion's current emotions can be be conveyed due to her expressions as she adds up the numbers. She does this in a way that shows the audience her feelings of guilt. However, the change in mood can emanate from the shower Marion takes after this. Her facial expressions seem happy, which can establish the transformation in mood. This shower can act as a "cleanse of guilt", in which is providing Marion with a fresh start, giving her the chance to purify her wrong doings. Nevertheless, things take an unexpected turn within the plot. About a minute or so into her shower, we see a silhouette creep up behind her and rip aside the shower curtain. This instance is where the second character is brought out, although their identity is concealed to create a sense of mystery. It turns out this person is the killer who murders their first victim, which unfortunately for Marion is her. After the crime is committed Norman Bates rushes down to the motel only to see that Marion has been murdered. This significant scenario manipulates the plot in such a way that baffles the audience due to how they are led into thinking Marion is the main character, but is killed off a third of the way into the movie.

The acting withing this scene is dynamically done by Marion Crane (Janet Leigh) and the killer who's identity is concealed for plot mystery purposes. Although silhouetted, the audience can be led into thinking that Mrs. Bates, Norman's mother, is the killer due to the physicalities and wardrobe such as the hair and dress. Even though there isn't much dialogue within this scene, a lot of meaning can come out of it due to variation in camera angles, emotion/reaction, style of editing, lighting and symbolism and metaphors. As Marion reacts to the shower curtain being ripped aside the camera zooms into her face to further emphasize her reactions. This is done in a way where the audience can feel the emotions Marion is feeling at the time. More meaning can be established through the murdering and the aftermath, which can demonstrate various types of stylistic choices and forms of metaphors and symbolism. 

In terms of cinematography, certain shot selection and angle variation is utilized within this scene in a way that can show off all the different elements. Different angles such as high angles and low angles are used in this scene to show off all different sides of where and how Marion is being stabbed. Doing so would give the audience more of a vision and imagery on what Marion is going through that the moment. The framing specifically consists of three different shot selections which are, Wide-Shot, Close-Up and Extreme-Close-Up. These particular shots can be a way of establishing reactions and occurrences. The wide-shot is used to establish and show both killer and Marion, the close-up is used to show just killer in terms of their physicalities and the extreme-close-up can be a technique that conveys Marion's reactions, which can further emphasize her emotions towards the audience. The two styles of cinematography that are incorporated within this scene can be considered as both realistic and classicist. The realism aspect can be represented by the aftermath of the murder which is a slow continuous pan that starts out in the bathroom, to the money, ending at the house. the classicism style can be shown through the quick, fast paced cuts during the shower murder scene. When it comes to light design, it is positioned in a way to silhouette killer but, uses a sufficient amount of lighting on Marion to put more emphasis on the victim while the killer's identity is concealed. 

Within this extract the symbolism and metaphors can be exemplified through certain elements in the aftermath of the shower murder scene. First of the symbolism can be seen through what happens once Norman discovers that Marion has been murdered. To visually depict the setting within Marion's cabin, there are two picture frames of small birds. In a way these birds can signify the killer's two victims, which are Marion and Arborgast. Shocked at the sight of Marion's dead body, he turns around and accidentally knocks down one of the pictures. To further establish the symbolism, the picture of the bird can act as a sense of parallelism to Marion due to the way Norman compares her to a bird a few minutes prior to this extract. The two pictures on the wall can represent the two victims; as one dies, one frame gets knocked down. When it comes to the visual metaphors within this scene, after Marion is killed she is laying on the ground and the camera slowly pans over to the shower drain and slowly gets closer into it; soon developing into a graphic match to Marion’s eye. Metaphorically speaking the shower drain matching to Marion's eye can symbolize the life slowly draining out of her.

Psycho: Narrative and the Film Extract

Joseph Stefano

Hitchcock's Psycho was based on a novel by an author known as Robert Bloch who was a prolific American writer that mainly focused on creating works of literature pertaining to genres such as crime, horror, fantasy and science fiction. Hitchcock and his screenwriter, Joseph Stefano, took some artistic liberties and the story in a way they saw fit. To convey Norman Bates as someone more "normal", Stefano wrote Bates in a way that would make him more, in a sense, appealing and easier to relate to due to the way how Stefano felt his character was too much of an outcast. That being said, the story is told in a non-linear fashion due to its complex storyline and unexpected twists. With the introductory shots, the audience is introduced to the character of Marion Crane, who is a women that is currently in a critical stage in her relationship where she wants to settle down, but her and her boyfriend's debts are standing in the way. At this point, the audience in convinced that the story revolves around this female character, but the fact that she is killed 30 minutes into the film completely changes everything the audience could have predicted about the end of the story. From the beginning, it seems to have a linear 3 act-structure, but when the characters hit certain plot points, the story becomes even more confusing. Every plot point, especially the death of Marion Crane, is a manipulation executed by Hitchcock and Stefano that changes the perspectives of the audience and their initial expectations at the start of the film. One significant principal that the film uses other than narrative sequence as a structure is the presence of the knife. Every time the knife is present in the scene, some new information is always shared with the audience or some new twist is introduced. For example, the first time the knife is shown, the audience experiences the death of the Marion Crane, a character who the audience thought was the main character of the story. 

The nature of our engagement with the story is that we, as the audience, think that we know more about what is going on than the characters do. There are various instances where Hitchcock leads us into believing that Norman is a disturbed yet a nice young man, but as the story progresses, we see in the end that Norman as an extreme psychopathic killer. As Norman is wrapping Marion's body after the shower scene, we can see his concern for his mother, due to his facial reaction. All the facts leading up to the death of Marion make the audience believe that Norman can and will do anything for his mother to keep her safe. When he first sees Marion's dead body, there is a sense of shock on his face which indicates that he may not be behind the murder. The hints quickly add up to make the audience believe that the mother is most likely the killer, which is later "seen" that she is due to the death of Arbogast. The whole time the audience believes that they know something that the other character need to know, but in the end they find out that they don't. This is the one nature of the story that keeps bringing in the audience.  

Soci-Cultural Influences in Psycho

Psycho was a film in which emulated the time period of the 1950s. The many different aspects of the film such as mystery, non-linear narrative, dark tone and its theme playing around with the concept of multiple identity appealed to the mass audiences. One of the film's primary theme included that challenges of the "American way of life" (Hitchcock's America). During this era, America was getting closer and closer to war with Russia, in which eventually lead up to the prime years of the Cold War. Within Psycho, Hitchcock utilized this situation as an influence and expresses this historical issue through the character of Marion Crane (Janet Leigh). Within the preliminary stages of this film, Marion is portrayed as a character who initially appears to have good morals, but inside she surrenders her conscious that tells her to pocket the $40,000 from her work and start a whole new life. She soon disregards all her personal principles and gives up her reputation to get the chance to live the American dream with her soon to be husband. However, this bold attempt does acquire many consequences. Marion's death, in a way, symbolizes the shock in society. Hitchcock stated that no matter how sane or pure society may be, when the opportunity arises, a second persona comes alive that makes quick, irrational decisions that can haunt you forever. As Marion is running away with the stolen money, the voices in her head are her second persona that creates events that have not yet occurred. The echo of those voices signify that they keep coming back no matter how much Marion tries to ignore them.

Psycho takes place in Phoenix Arizona and the Bates Motel should be located somewhere near the area of California or Nevada. Although the geographical area itself did not have any significance to the story or any underlying message, the secluded location of the Bates Motel as well as Marion Crane's drive on the isolated freeway can convey her emotions of loneliness. By stealing the $40,000 she is trying to fulfill that emptiness and the thoughts of being with her boyfriend, yet she realizes that that can never be.



One highly significant inspiration within Psycho would be a man known as Ed Gein. This American murderer and body snatcher eventually led to the creation of the character Norman Bates, the primary antagonist who essentially surrounds the central conflict. Bates, who is introduced as a kind, simple young man actually turns out to be a disturbed murderer. There is some significance behind the casting of Anthony Perkins as the killer. Making the killer with unsuspecting characteristics, would draw less suspicions towards Bates as the killer. Hitchcock did this to create more of a shock factor once the true killer is revealed during the twist. Even though the audience suspects him for being Marion Crane's murderer, he still remains a sympathetic character. For example, Bates cleans up any sign of Marion's murder in the shower, puts her in trunk of her car, and drives off to a nearby swamp to sink it. While the car is sinking, there is a small halt in its movement. Viewers feel, just for a moment, that it is not going to sink and we see that through Bates' reaction. This moment can be a clear indication that we want that car to sink, for Norman's sake. Therefore, the audience begins to feel sympathetic towards Bates and want to see him get away with this. Given that this is a manipulation by Hitchcock, it is an indication that there is an evil side to everyone.  

In the evolution of genre, Psycho can be considered as a "classic" due to how it utilized primitive techniques from past films, but it managed to tell a story like no one had seen come together before. Psycho is well known as a watershed film, that of which left a legacy behind due to the way it highly affected the film industry and immensely changed the way people look at the horror genre. The reason people look back at the film today is not only for the study of its structure, but also for enjoyment, which evidently makes Psycho indeed a "classic."  

Historical and Institutional Influences

Well known for utilizing his artistic visual talents, Alfred Hitchcock was a bold creator of films in which mainly focused on the imagery aspect rather than what can be perceived through sound. Within the era of silent films, Hitchcock was considered to be a master when it came to the various techniques of this time period which consisted of lighting, framing and composition. Through the usage of these components, Hitchcock executed them in a way that would enhance the emotional countenance of a film. However, as time went by and the film industry progressed throughout the years, the significance of visual importance soon deteriorated on account of the introduction to sound, that of which Hitchcock ungratefully opposed. Some of these film institutions that began to incorporate sound were film productions and companies commonly known as Warner Brothers Studios, MGM, Universal Studios and so on. "Although Hitchcock began making sound films in 1929, he cordially despised the laziness to which this tempted directors and writers. Most films, once they could rely on the microphone, became what he called 'pictures of people talking'" (461). Considering silent films were of greater precedence to Hitchcock, he highly relied on his cameras to do all the talking with its dynamic movements and subtle pans. Unlike other directors who heavily depended on their actors and actresses to put on an excellent performance, Hitchcock uniquely in a sense treated his actors and actresses as if they were puppets. He was one of the first directors to take full control of their productions in a studio. Te best exemplify this, Hitchcock made the daring decision to individually produce his renowned film Psycho (1960) using his film crew from the t.v. series he created prior to this film as well as fund it using under one million dollars. "It was not mere nostalgia that kept Hitchcock making films as he had in the silent era" (461). Although having colored films already being established, Hitchcock felt it more reasonable to create Psycho in black in white, not only to save money, but to also take on the opportunity to conceal the gore this film had. Doing so highly affected censorship laws in which pertained to the films of this time period, further bringing out the political aspect of this era.

As Psycho was released in 1960, the rise of the slasher genre began to flourish and immensely gain recognition, putting Hitchcock at a state in which he can be considered to be the founding father of this particular sub-genre. Considered as the origin to all slashers, Hitchcock's Psycho was a breakthrough within the film industry putting many influences amongst other directors, producers screenwriters etc. "So fruitful was he that a single film could spawn an entire genre, as Psycho helped create the modern horror film..." (458). Hitchcock created this movie in a way whereas the effect it had on his audience changed the way people primarily looked at murder mysteries. Despite the amount of people killed within the film, the way it was executed and presented was the essential component in evolving and developing the story line's plot. Many questions and ideas were eventually evoked as the movie progresses based on characters and the killer. Who was the true main character and who was the actual killer? As the film starts and goes on for a while it seems quite evident on who the main character is which is Marion Crane, but about a third of the way into the film Hitchcock kills her off, further causing a plethora of questions on who the real main character is. Hitchcock does the same with the killer. He incorporates many clues and subtle hints that if which are embedded into the plot to lead the audience into thinking they already know who the killer is. But little did they know, Hitchcock throws in an unexpected twist in the ending. To the audience it may seem as if Mrs. Bates, mother of Norman Bates, was the suspected killer, but it turns out that she is nothing but a decayed corpse living in the Bates household as a decoy of some sorts. Although there was never physically a real Mrs. Bates in the final film, Hitchcock went to certain extents to create the illusion that there were people auditioning to play her in the movie. He even sent out a casting call as well as place an actor's chair out during production with "MRS. BATES" written on it to create the illusion that she was real. Hitchcock had a way of getting into people's minds in a way that creates suspense and anxiety but all of a sudden takes things into a whole new direction. This here would evidently lead to the psychological-thriller aspect of Psycho.  

Hitchcock - Genre and Audience

Alfred Hitchcock's Psycho is a 1960 film falling under the genre of psychological thriller. Mainly being a film of horror/psychological thriller, Psycho pertains to the sub-genre of slasher. Many were to say that Hitchcock was one of the main directors to supposedly found the sub-category slasher, further revolutionizing the film industry's genre components by taking murder, mystery and suspense to a whole new level. One main feature to determine this genre would be the renowned shower scene where Marion Crane was brutally murdered at the secluded, mysterious Bates Motel. Apologies for the spoiler alert. Throughout this scene, the murderer is silhouetted, in which conceals the suspect's identity further bringing out the suspense/thriller aspect of the film.

Within this era, pertaining to the time of the film industry, Hitchcock's creating Psycho was very definitive in developing the "slasher" genre due to the showing of bloody and grotesque murder scenes. The incorporation of low key lighting and sufficient choice of musical score played an extremely significant role by adding to the sense of fear, suspense and anxiety. Hitchcock truly succeeded in the attempt to take the aspect of horror to a whole new level. Not only did these elements make Psycho a "breakthrough" film, but the use of highly unique symbolism embedded into the story's plot line gave it a more complex feel. One must reevaluate the film to acquire a greater understanding of the subtle hints Hitchcock incorporates and interprets. As the story progresses throughout the course of the film, audience members become even more perplexed as to who the "real" main character is or who is the actual killer.

Directed and produced by Alfred Hitchcock, he created this film as a somewhat response and to revolutionize the social norms of the film industry. Although Hitchcock had intentions to make a dark, suspenseful, thrilling major motion picture, he simultaneously wanted to create it under a low paying budget, therefore doing what he can to keep all expenses under one million dollars. Knowing he did not have a high budget, Hitchcock was not able to utilize a major studio as well as an entire production crew. However, before Psycho, Alfred Hitchcock created a television series which aired from 1955-1962, therefore he was able to use his crew for his t.v. show to create Psycho. Although this was a low budget film, Hitchcock used the various sources he had at his utilization to make the overall production value sky rocket and one of the most classical horror films in history.

There are many components to demonstrate the audacity of the creators of Psycho who of which were very daring when it came to producing this film, but the one that stood out the most was the color of it. By making this movie black and white was a rather bold decision, especially due to how this era was the time period of the rise in colored films. Not only did this choice save money, but it was also seen as an artistic choice. Psycho was one of the few films in the 1960s that was made in black and white. Hitchcock also felt that making his film in black and white was a wise decision based on the content of gore it acquired. Psycho was considered to be too bloody for viewers, and by making it black and white it would give it a less horrifying sight.

In terms of Psycho relating to other movies, the aspect of the film that stands out the most would be the all-important twist. The film that would pertain to this twist would be another horror film which is Saw (2004). Within Psycho Hitchcock creates a plot twist that takes the story into a whole new direction and takes the audience by surprise. As he lead viewers into thinking that Mrs. Bates (Norman Bates's mother) is the killer due to many conspicuous hints such as the silhouetted figure during the shower scene, he later reveals that she isn't anything but a decayed corpse residing within the Bates residence. Soon after,  the true killer is revealed, which is unfortunate cross-dresser Norman Bates. Pertaining to this twist, Saw reveals the twist also having to do with a corpse. In the end, as Dr. Lawrence Gordon escapes due the horrid amputation of his foot, Adam awaits for him to send help. As he waits the corpse  in the middle of the room ends up being alive and none other than Jigsaw himself.



 The target audience for Psycho would be equally split amongst gender as it can be considered as a "date movie". The suspense, mystery and violence aspect would appeal to the male audience while the female audience would be provided with the attraction to the qualities of the female star. Despite the fact that viewers do not personally know the actress, this would be so due to the, per se, relationship the female audience would develop with the female star (Vera Miles/Marion Crane) throughout the story line, giving them chances to make connections. The female audience would also be attracted to the romance aspect of the film, in which they would be able to relate to.