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The Point After “Work Hard - Be Safe - Have Fun”
The Point After “Work Hard - Be Safe - Have Fun” Volume 5, Issue 52 February 10, 2017 Administration Stolen Trailer Sought Andy Bohlen, Chief Neal Pederson, Captain Sometime over the weekend of Jason Severson, Captain February 4th, a 2011 yellow 12- Connie Holm, Secretary foot enclosed trailer with the words “Faribault Transporta- Patrol tion” written on the sides was taken from their parking lot in Matt Knutson, Sergeant Mark Krenik, Sergeant Faribault. There are no suspects Matt Long, Sergeant or video surveillance, just the Eric Sammon, Sergeant obvious color and descriptors Tony Kuchinka of the trailer itself. This trailer is Lisa Petricka pulled behind buses to haul Kara Christensen hockey/football equipment for Ben Johns road games. If you have infor- Mike Thul & K-9 Chase mation about the trailer or Josh Sjodin theft, please contact Detective Chris Tonjum The attached picture is the same model but not the exact trailer as the one Matthew Kolling at 507-334- Adam Marvin & K-9 Cannon taken is yellow with “Faribault Transportation” on the sides. John Gramling 0937. Matt Shuda Mallory House Second-round interviews were logical and physical exams, we Our condolences to the family John Pesta Keith Voegel conducted with 16 applicants hope to have two officers start- of former Rice County Sheriff Said Hilowle this week. The applicants were ing in March. They will be re- Dave Schweisthal, who Karl Willers ranked, and an eligibility list is placing a recently retired officer, passed away this week. Elected Josh Alexander scheduled to be approved by and another position vacated by in 1979, Sheriff Schweisthal led Tony Larson the City Council on February an officer who left for another the office until retiring in 1997. -
Netflix and the Development of the Internet Television Network
Syracuse University SURFACE Dissertations - ALL SURFACE May 2016 Netflix and the Development of the Internet Television Network Laura Osur Syracuse University Follow this and additional works at: https://surface.syr.edu/etd Part of the Social and Behavioral Sciences Commons Recommended Citation Osur, Laura, "Netflix and the Development of the Internet Television Network" (2016). Dissertations - ALL. 448. https://surface.syr.edu/etd/448 This Dissertation is brought to you for free and open access by the SURFACE at SURFACE. It has been accepted for inclusion in Dissertations - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. Abstract When Netflix launched in April 1998, Internet video was in its infancy. Eighteen years later, Netflix has developed into the first truly global Internet TV network. Many books have been written about the five broadcast networks – NBC, CBS, ABC, Fox, and the CW – and many about the major cable networks – HBO, CNN, MTV, Nickelodeon, just to name a few – and this is the fitting time to undertake a detailed analysis of how Netflix, as the preeminent Internet TV networks, has come to be. This book, then, combines historical, industrial, and textual analysis to investigate, contextualize, and historicize Netflix's development as an Internet TV network. The book is split into four chapters. The first explores the ways in which Netflix's development during its early years a DVD-by-mail company – 1998-2007, a period I am calling "Netflix as Rental Company" – lay the foundations for the company's future iterations and successes. During this period, Netflix adapted DVD distribution to the Internet, revolutionizing the way viewers receive, watch, and choose content, and built a brand reputation on consumer-centric innovation. -
Activity Worksheets LEVEL 3 Teacher Support Programme
PENGUIN READERS Activity worksheets LEVEL 3 Teacher Support Programme Psycho Photocopiable While reading a ‘I’m sorry I wasn’t in the office.’ Chapters 1–3 ……………………………………………… 1 Answer these questions about Marion Crane. b ‘What an amusing young man.’ a How old is she? ……………………………………………… ……………………………………………… c ‘You can’t bring strange young girls up to this b What kind of work does she do? house.’ ……………………………………………… ……………………………………………… c Is she married? d ‘I made trouble for you. I’m sorry.’ ……………………………………………… ……………………………………………… d Is she a happy woman? Why? / Why not? e ‘A boy’s best friend is his mother.’ ……………………………………………… ……………………………………………… e Does she have any brothers or sisters? f ‘If you love someone, you don’t leave them.’ ……………………………………………… ……………………………………………… 2 Complete the sentences with the names from g ‘I made a bad mistake.’ the box. ……………………………………………… 5 Choose the right answer. Tommy Cassidy Marion Crane a Why does Marion stop at the motel? … Sam Loomis Mr Lowery the policeman 1 Because she doesn’t want to see the a ………………… wants to marry her policeman again. boyfriend. 2 Because she is tired and hungry. b ………………… needs $11,000 to pay his 3 Because she wants to call Sam. debts. b Why does Marion write the wrong name in c ………………… is late to work after lunch the visitor’s book? … but her boss is having lunch with a customer. 1 Because she and Sam meet secretly. d ………………… is an unpleasant man with 2 Because she always does. lots of money. 3 Because she doesn’t want the police to find e ………………… leaves work with $40,000. her. f ………………… sees Marion Crane in her c Where does Marion hide the money? … car at some traffic lights. -
The Horror Within the Genre
Alfred Hitchcock shocked the world with his film Psycho (Alfred Hitchcock, 1960), once he killed off Marion Crane (Janet Leigh) half way through the film. Her sister, Lila Crane (Vera Miles), would remain untouched even after Norman Bates (Anthony Perkins) attacked her and her sisters lover. Unlike her sister, Lila did not partake in premarital sex, and unlike her sister, she survived the film. Almost 20 years later audiences saw a very similar fate play out in Halloween (John Carpenter, 1978). Laurie Strode (Jamie Lee Curtis) managed to outlive her three friends on Halloween night. Once she slashed her way through Michael Myers (Nick Castle), Laurie would remain the lone survivor just as she was the lone virgin. Both Lila and Laurie have a common thread: they are both conventionally beautiful, smart virgins, that are capable of taking down their tormentors. Both of these women also survived a male murder and did so by fighting back. Not isolated to their specific films, these women transcend their characters to represent more than just Lila Crane or Laurie Strode—but the idea of a final girl, establishing a trope within the genre. More importantly, final girls like Crane and Strode identified key characteristics that contemporary audiences wanted out of women including appearance, morality, sexual prowess, and even femininity. While their films are dark and bloodstained, these women are good and pure, at least until the gruesome third act fight. The final girl is the constant within the slasher genre, since its beginning with films like Psycho and Peeping Tom (Michael Powell, 1960). -
S • Homophones • One-Word Titles • Cool Beans • Landmark Addresses • Light the Way Multiple “A”S 1
Category Trivia August 2021 There are six categories with six questions in each category. The categories are: • Multiple “A” s • Homophones • One-Word Titles • Cool Beans • Landmark Addresses • Light the Way Multiple “A”s 1. What organization represents retired people, is a source of information on topics of interest to seniors, and offers many membership benefits? AARP It stands for American Association of Retired People. Multiple “A”s 2. What are the initials of the 12-step program for alcoholics? AA It stands for Alcoholics Anonymous. Multiple “A”s 3. What are the letters for a two-year college degree? AA It stands for associate of arts. Some undergraduates earn an AA at a community college before completing the final two years of a bachelor’s degree at a four-year university. Multiple “A”s 4. What does NAACP stand for? National Association for the Advancement of Colored People It was founded in 1909, and it’s the largest and oldest civil rights organization in the United States. Multiple “A”s 5. What organization oversees college athletics? NCAA It stands for National Collegiate Athletic Association. Multiple “A”s 6. What is the highest bond rating? AAA Also known as investment-grade bonds, they are the safest bonds. Bonds rated CCC and below are considered junk bonds, and they pay the highest interest rate due to the possibility that investors may lose their entire investment. Homophones 7. What is your mother’s sister and an insect? Aunt/ant Homophones 8. What is an advertisement and how you arrive at a sum of numbers? Ad/add Today, advertisements come in many forms, from written copy to interactive videos. -
The Overbearing in Coriolanus and Psycho
The Corinthian Volume 17 Article 2 2016 Mother Knows Best: The Overbearing in Coriolanus and Psycho Mikaela LaFave Georgia College and State University Follow this and additional works at: https://kb.gcsu.edu/thecorinthian Part of the English Language and Literature Commons Recommended Citation LaFave, Mikaela (2016) "Mother Knows Best: The Overbearing in Coriolanus and Psycho," The Corinthian: Vol. 17 , Article 2. Available at: https://kb.gcsu.edu/thecorinthian/vol17/iss1/2 This Article is brought to you for free and open access by the Undergraduate Research at Knowledge Box. It has been accepted for inclusion in The Corinthian by an authorized editor of Knowledge Box. The Corinthian: The Journal of Student Research at Georgia College Volume 17 • Spring 2016 Mother Knows Best: The Overbearing in Coriolanus and Psycho ercises enough influence over Martius to drive him toward self-de- Mikaela LaFave structive pride. The First Citizen establishes that Martius’ pride originates from his sense of obligation towards Volumnia: “Though Dr. Jenny Flaherty soft-conscienced men can be content to say it was for his country, Faculty Mentor [Martius] did it to please his mother and to be partly proud, which he is, even to the altitude of his virtue” (1.1.36-40). Shakespeare establishes that Martius’ pride possesses an indelible link to Volum- nia; rather than feeling pride for himself, or seeking out pride for Psychoanalytic critics have focused on the mother-son himself, he does so for his mother, framing their relationship as one relationship throughout its criticism, stemming from Freud’s rein- of fear and domination rather than love. -
FROM BATES to BUSH the NEW SLASHER FILM By
FROM BATES TO BUSH THE NEW SLASHER FILM By JAMES FENIMORE COOPER II Bachelor of Arts in Film Studies University of Oklahoma Norman, Oklahoma 2007 Submitted to the Faculty of the Graduate College of the Oklahoma State University in partial fulfillment of the requirements for the Degree of MASTER OFARTS July, 2011 FROM BATES TO BUSH THE NEW SLASHER FILM Thesis Approved: Dr. Stacy Takacs - Thesis Adviser Dr. Jeffrey Walker Dr. John Kinder Dr. Mark E. Payton - Dean of the Graduate College ACKNOWLEDGMENTS Firstly, I am forever in the debt of Drs. Stacy Takacs, John Kinder, and Jeffrey Walker for their willingness to read through multiple drafts of a project on murder and mayhem. I owe a special “Thank You” to Dr. Takacs for being such a helpful guide in what seemed the darkest of hours; her advice, understanding, and counsel proved much too invaluable when the burdens of coursework, teaching, research, and writing weighed on me the most and anxiety loomed the largest. This essay owes much to her stewardship and to our conversations on film and culture. Moreover, I’d like to sincerely thank the following people for their varying influence on this project: Dr. Brian Price, for introducing me to Richard Rorty, for being such a thoughtful and patient man, and for convincing me to study at OSU; Dr. Carol Mason, for guiding me through the wonderful world of Michel Foucault and for making me feel like I had the whole world ahead of me; Dr. Ron Brooks, for teaching me how to teach and for his passion for students; Dr. -
Psycho by Charles Taylor “The a List: the National Society of Film Critics’ 100 Essential Films,” 2002
Psycho By Charles Taylor “The A List: The National Society of Film Critics’ 100 Essential Films,” 2002 Reprinted by permission of the author The impact of Alfred Hitchcock’s “Psycho” owes so much to its two big surprises that when the film opened in 1960 Hitchcock not only refused to allow press screenings but had theaters hire Pinkerton security guards to prevent latecomers from entering the theater once the picture had started. He wanted to keep the people who hadn’t bought tickets from finding out that Janet Leigh’s Marion Crane is stabbed to death in the shower only forty-five minutes into the movie, and that the murderer is Antho- ny Perkins’s Norma Bates, who has succumbed to the personality of the mother he murdered years before. In many ways, “Psycho” seems like a death knell for the studio system that would lumber on for a few more years before collapsing later in the decade under the weight of filmmakers and audiences sick of the old stultified formu- Alfred Hitchcock holding a clapper on the set of “Psycho.” las. It isn’t just that Hitchcock made the film fast and on Courtesy Library of Congress the cheap (it cost only $800,000), using the crew from his television anthology series “Alfred Hitchcock Presents.” We are as anxious for Norman not to be found out cover- And it’s not just the shock of the shower murder, its bril- ing up “mother’s” crime as we were for Marion not to get liant and savage elisions heralding and in many cases sur- caught stealing the $40,000 that started her on the jour- passing the screen violence to come. -
Kurosawa Kiyoshi Profile Prepared by Richard Suchenski Articles Translated by Kendall Heitzman Profile
Kurosawa Kiyoshi Profile prepared by Richard Suchenski Articles translated by Kendall Heitzman Profile Born in Kobe in 1955, Kurosawa Kiyoshi became interested in filmmaking as an elementary school student after he saw films by Italian horror filmmakers Mario Bava and Gorgio Ferroni. He formed a filmmaking club in high school and made his first Super 8mm short film, Rokkô, in 1973. Kurosawa continued making short 8mm films as a student at Rikkyô University, where he began to attend classes on cinema taught by Hasumi Shigehiko, the most important film critic and theorist of his era. Hasumi’s auteurist approach and deep admiration for American cinema of the 1950s deeply influenced a generation of Rikkyô students that, in addition to Kurosawa, included Suo Masayuki, Shiota Akihiko, Aoyama Shinji, and Shinozaki Makoto. While still a student, Kurosawa won a prize for his film Student Days at the Pia Film Festival in 1978. After presenting Vertigo College at Pia in 1980, he worked on Hasegawa Kazuhiko’s The Man Who Stole the Sun (1979) and Sômai Shinji’s Sailor Uniforms and Machine Guns (1981). Kurosawa was invited to join the Directors Company, an alternative to the major studios that offered creative freedom to young directors such as Hasegawa and Sômai. Under their auspices, he made his feature film debut with the pink film, The Kandagawa Wars, in 1983. Kurosawa next attempted to work directly for a major studio by directing a Nikkatsu Roman Porno entitled Seminar of Shyness, but the studio rejected the film, claiming that it lacked the requisite love interest. The film was eventually purchased from Nikkatsu and released as The Do-Re-Mi-Fa Girl in 1985, but the incident gave him a reputation as an idiosyncratic character and made securing funding for other studio projects difficult. -
Marion, Norman, and the Collision of Narratives in Psycho | Reel 3 11/7/09 5:32 PM
Marion, Norman, and the Collision of Narratives in Psycho | Reel 3 11/7/09 5:32 PM Home Marion, Norman, and the Collision of Narratives in Psycho By Jason Haggstrom, June 16, 2010 Today marks the 50th anniversary of the release of Psycho, one of Alfred Hitchcock's greatest films in a career that fostered the creation of many. As with all of Hitchcock's great films, Psycho can be seen as simple, face value entertainment or as a a film worthy of great study and analysis. I've seen Psycho many times over the course of my 34 years of existence, but what keeps me coming back is the way that Hitchcock uses multiple narratives to toy with audience perspective. The film begins with an objective narrative before switching to a subjective one only to see that narrative destroyed when it collides with another. This is an analysis of those narratives and how they shape (and re-shape) the way that we view the lead characters and their actions. Spoilers Ahead: Initial plot Plot twist Character death Psycho opens with a series of pans that overlook the city of Phoenix, Arizona. The shots cut progressively closer until the camera finally settles on one specific building, then one specific window. The camera drifts inside, an explicit act of voyeurism that exposes what would otherwise be a private moment: two lovers discuss the lunchtime affair they have been conducting during the free hours of the workday. Marion Crane http://reel3.com/marion-norman-and-the-collision-of-narratives-in-psycho/ Page 1 of 7 Marion, Norman, and the Collision of Narratives in Psycho | Reel 3 11/7/09 5:32 PM is introduced as a semi-naked body laying on a bed, a delectable object for the camera's eye. -
Hitchcock Blonde
42nd Season • 405th Production SEGERSTROM STAGE / FEBRUARY 3 - MARCH 12, 2006 David Emmes Martin Benson PRODUCING ARTISTIC DIRECTOR ARTISTIC DIRECTOR presents the American premiere of HITCHCOCK BLONDE written and directed by Terry Johnson William Dudley Chris Parry Ian Dickinson Ian Galloway for Mesmer SCENIC/COSTUME/VIDEO DESIGN LIGHTING DESIGN COMPOSER/SOUND DESIGN VIDEO REALIZATION Magdalena Zira Jeff Gifford Jamie A. Tucker* ASSISTANT DIRECTOR PRODUCTION MANAGER STAGE MANAGER Valerie and Geoff Fearns HONORARY PRODUCERS Hitchcock Blonde • SOUTH COAST REPERTORY P1 THE CAST (in order of appearance) Jennifer .................................................................................. Adriana DeMeo* Alex ............................................................................................. Robin Sachs* Hitch ..................................................................................... Dakin Matthews* Blonde ...................................................................................... Sarah Aldrich* Husband .................................................................................... Martin Noyes* LENGTH Approximately two hours and 10 minutes, including one 15-minute intermission. PRODUCTION STAFF Assistant Stage Manager ................................................. Chrissy Church* Casting .............................................................................. Joanne DeNaut Fight Choreographer ............................................................ Martin Noyes Stage Management Intern -
Psycho Workbook Sample Answers Character Development in Psycho
Psycho Workbook Sample Answers Character Development in Psycho When writing about how a character is established and developed, you can refer to a range of production elements, including: camera techniques, acting, mise-en-scene and visual composition, editing, lighting and sound (including music and dialogue). 1. How is Marion Crane established and developed as a character? Refer to the use of camera techniques, music, acting and dialogue (10 marks). In the opening sequence of Psycho, Alfred Hitchcock uses a range of techniques to establish the character of Marion Crane, including camera techniques, music, acting and dialogue. Dialogue is used extensively throughout this scene to establish Marion as a character, revealing that her and Sam are unable to be together because Sam is still paying his ex-wife alimony and living behind a hardware store in Fairvale. Marion is tired of their secretive relationship. "Oh, we can see each other," she says. "We can even have dinner - but respectably - in my house, with my mother's picture on the mantel, and my sister helping me broil a big steak for three." Sam professes a deep love for her, conceding that he wants to see her under any circumstance, "even respectability". Acting also makes an important contribution to character development throughout this scene. When Sam suggests that after dinner they ‘send sister to the movies and turn mamma’s picture to the wall’ Marion appears shocked at the suggestion. This reinforces the notion that she wants them to have a ‘respectable’ relationship. Although dialogue is primarily used to establish Marion and Sam as characters, shot selection and music also makes a contribution.