Chapter 1 - Textbook Discussion Questions
HUMN246-E1WW: Assignment 1-5
Stephanie Bost-Chi
May 21, 2013

1. If you watched the movie on a TV or computer screen, in which scenes do you feel you lacked the intensity of involvement needed to enjoy the film most completely? In which scenes does the small-screen format work?
Physco was directed by Alfred Hitchcock in 1960. Although one might argue that viewing the notorious shower scene on the cinema screen would add far more effectiveness and immediacy to this extract of the movie. The movie was brilliantly made and in its entirety translates impeccably on the TV or computer screen. The subjective camera angles of select scenes such as the notorious the shower scene in particular coupled with the varying degrees of close up shots and the dramatic score add vivid emotiveness and depth to the action and in all honesty I did not stop to think ….this would be more meaningful on a big screen at the movie theatre.
Throughout the movie there are portions of dialogue between actors where the sole focus is on the actor who is speaking. In a scene when Norman Bates played by Anthony Perkins, is talking with private detective Arbogast played by Martin Balsom about the disappearance of Marion Crane played by Vivien Leigh, the camera shot combinations go from extreme angled close ups to close ups with backlighting. The shots add dramatic effect which engages the viewer in the moment with the two men as they talk together. At one point all the viewer sees is the underside of Normans chin as he nervously chews on some gum. Again this camera angle enhances the moment visually as the entire focus is on Norman’s chin one can literally feel his nervousness.
2. How much do your personal subjective responses to the following aspects of the film affect your judgment: actors, treatment of sexual material, and scenes involving violence? Can you justify the sex and violence in the film aesthetically, or are these scenes included strictly to increase box-office appeal?
The movie’s opening scene shows Marion and her boyfriend, Sam Loomis played by John Gavin engaged in a passionate tryst. The scene is tastefully done with lots of camera panning around the couple; the camera angles ingeniously place a sense of urgency in this scene as the couple gently fondles each other while talking to each other about their dilemma. The scene represents female and male desire rather than overt lust. Such a depiction in the 1960s was considered risqué and a bold move for a film director to portray.
Norman Bates is a man plagued with a classic oedipal complex and cross-dressing tendencies that inherently cause a voyeuristic reaction to the beautiful guest, Marion at the Bates motel to be tainted with unrequited sexual feelings on his part. Prior to the infamous shower scene we see Norman secretly peaking at Marion through a hidden hole in the wall as she gets ready to take a shower.
The eventual violent murder of Marion at the hands of Norman just a third of the way into the movie has subtle sexual innuendos; Marion is taking a shower and visually, from her expressions, enjoying the relief of the falling water on her tense skin. This depiction only hints at nudity and violence as the viewer only sees part of Marion’s skin and form, also the viewer never see the knife slashing her body or any gory knife entry shots and there is minimal blood throughout the scene.
All of the aesthetics of this movie, while relevant to the theme only lead to a suggestion of the acts represented. I believe that the imagery is applicable and is not overly stylized for box office appeal.