DOCSLIB.ORG

Alfred Hitchcock & the Making of Psycho Pdf Free Download

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Alfred Hitchcock & the Making of Psycho Pdf Free Download ALFRED HITCHCOCK & THE MAKING OF PSYCHO PDF, EPUB, EBOOK Stephen Rebello | 272 pages | 25 Jan 2013 | Marion Boyars Publishers Ltd | 9780714531915 | English | London, United Kingdom Alfred Hitchcock & the Making of Psycho PDF Book So we had a back lot set called Falls Lake at Universal. Alfred Hitchcock and the Making of Psycho shows the daily lives of the filmmakers, who believed they were making a modestly budgeted, black-and-white shocker, representing a radical departure from the elegant, suspenseful films that had made director Hitchcock's reputation, including Rope , Rear Window , To Catch a Thief , The Man Who Knew Too Much , and North by Northwest. Feb 12, Kevin Jones rated it really liked it. Documentaries - Seen. The basic thing that we had to have with the house and the motel This movie is a character study and mystery, but told in a much different manner. Janet Leigh She is not a thief. Original Title. Meredith is a writer, editor and brewpub owner living in Houston, Texas. This is the three-note motif I told him that I was in analysis, and that, as a matter of fact, I had just come from a session. I had even tried that in a line in my own first draft, not the one I gave to Hitchcock. Each of these films deserve their own individual study - the complex layers of Vertigo, the pacing of NbNW and the audacity of The Birds - but it is Psycho that stands out as the apotheosis of Hitchcock's career, not because of what it did to cinema, but because of what it did to Hitchcock hims 31 years after his debut, Hitchcock released Vertigo, North By Northwest, Psycho and The Birds in an unprecedented run of film-making, when he already had a body of work that was the envy of any director. Beth Hanna Nov 20, pm elizabeththanna. Archived from the original on March 6, That the fun of it, the magic of it would exist in your not knowing the truth about the story. But that opening three-note signature was very famous as the theme from Psycho. The twisting of the It's one thing to grow up with Psycho as an iconic cultural touchstone and know that it was the most shocking and revolutionary American horror film since Frankenstein, but before I read Rebello's book I didn't truly realize how much of a monster hit it really was or how profoundly it scared audiences. Once standing near a closed door and second on a rare public appearance with Alfred at an event. Hitchcock would be photographed in that chair, along with every major cast member, from Janet Leigh to Martin Balsam Detective Arbogast — every cast member, that is, except Anthony Perkins. You Might Also Like Peggy Robertson Benny Hermann's score for Psycho was brilliant. Gavin was under contract to Universal, where the movie was going to be shot. And in a moment of weakness, she took the money, and then started to pay for it. Oh, hells yes. Welcome back. I could go on and on! We didn't have that, and we couldn't do it. So you have to shoot it all in a loose shot, just of him going up the stairs. Get A Copy. Hitchcock, and, two: the anticipation of what was he going to do with this. Janet Leigh I feel very strongly that the reason that Psycho has endured is because of the restrictions that were put on us and because Mr. It's a fascinating look at both Psycho and the man who made it, and covers the film's effect on both audiences and Hitchcock himself. Janet Leigh At that time, , when we shot it, we weren't allowed to show nudity. I remember one night, we were on the back lot. Peggy Robertson The audience, for Hitch, were the most important part of the moviemaking. But he said to me, "There's a part in the new picture that I would love you to do. With all of that said, Hitchcock is very entertaining, thanks in large part to wonderful performances by all, but especially by Anthony Hopkins and Helen Mirren. Patrica Hitchcock That's exactly what he wanted to do. Return to Book Page. Want to Read saving…. Wonderful actor. Hilton Green When Hitchcock walks in and pulls the shower curtain away and reveals Vera Miles behind there instead of Janet Leigh, it was part of the fun that went on that day. But she came back on Psycho to play the sister. Alfred Hitchcock & the Making of Psycho Writer That didn't even enter my head. So we had a back lot set called Falls Lake at Universal. Imgur: The magic of the Internet. John Gavin is a true gentleman, a wonderful man and very decent and sort of honorable. I've never seen Psycho - never read the book. Beginning with the gruesome Ed Gain murders that inspired the original novel, Rebello walks us through every aspect of Hitchcock's Psycho. Hitchcock gave in. Welcome back. View 1 comment. There's a lot in this book that might make people surprised, especially when you consider the standards at the time. I was on the set every second of every foot of film that was shot on Psycho , and Mr. But one's got to assume that one of the reasons why both the book and the movie are so successful, is because people knew that, albeit remotely, they were based on truth. Had no visitors on the set. Patrica Hitchcock My mother was the one who, when they saw the first print, the print that they were going to send out Because it was a different one all the time, and the one that elicited the most horrifying scream was the one he used. I'd met him, but, you know… To start off with this kind of a scene, the first day of shooting was, I think, awkward. And go through the window and discover John Gavin and Janet Leigh in a hotel room to open his movie. A personality and brand crafted for mass consumption which hid a very real person indeed. In the book, he's this pudgy, rather nondescript, short, balding man. Rebello also gives an interesting look at Hitchcock as a person, and it's very much a warts-and-all portrayal. Alfred Hitchcock & the Making of Psycho Reviews It was over 20 years before I could watch it a second time. And so, of course, I just said yes. Therefore, he didn't want me to discuss the script with anybody. Otherwise, we didn't really have any trouble with them. I think it was on Adams Street in Phoenix. Feb 02, Sean W. Chapter 6 — Preproduction [in which we watch as Hitchcock selects the shooting studio, hires the cast and crew, labors over the production design, wardrobe and makeup and takes on the Hays Code censors. The director then closed his eyes as Bone took turns stabbing watermelons, casabas, cantaloupes and honeydews. I had done everything, but looked at the charts and found out when the full moon was. You then have to come back and redub everything because of all the noise that goes on. I'm reading a first printing hardcover, originally published in , and boy, the design really screams "s. And at the precise moment, we could stop it and then bring it down again. I'm sorry Mr. The camera pulls all the way up, and we look down on the girl lying across the tub and her bottom is bare. So when this opportunity presents itself with the money, it was important that the audience know this woman, know that she's a good person, but know her frailties, know her weaknesses. And Scarlett Johansson did a wonderful job being Janet Leigh We were worried, how do you do take two? So we couldn't use them. The Daily Beast. Views Read Edit View history. Some important writers and commentators cite the film as responsible for closing the door on film noir, but this wasn't addressed at all. He had a great deal of personal flaws: he could be vindictive, held grudges easily, had a strong elitist streak, and was unwilling to give credit to his contributors. The illusion of Mrs. Alfred Hitchcock & the Making of Psycho Read Online Patrica Hitchcock The most fascinating part, which my father loved from the very beginning, was having Janet play that part It was a homage to Hermann. It's just in your dirty mind. There was no storyboard on it when I wrote it. In this case it turned a major director, who had achieved a level of fame and success few filmmakers do, into a genuine superstar. Hitchcock was a frame cutter. In homage to the efforts made not to reveal the plot to the audience, so shall I not reveal the gems that are in this book - but trust me that they are here. Stephen Rebello. Joseph Stefano Bosley Crowler of the New York Times said it was awful, and then later in the year picked it as one of the ten best pictures of the year. That's what mattered to him: to get the audience involved. On the publication of the hardcover first edition in , critic Richard Schickel called the book "indispensable and marvelously readable" and "one of the best accounts of the making of an individual movie we've ever had. Here we are in a big rainstorm, and the moon in the background.
Load more

Recommended publications
  • Hole a Remediative Approach to the Filmmaking of the Coen Brothers
    University of Dundee DOCTOR OF PHILOSOPHY Going Down the 'Wabbit' Hole A Remediative Approach to the Filmmaking of the Coen Brothers Barrie, Gregg Award date: 2020 Link to publication General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 24. Sep. 2021 Going Down the ‘Wabbit’ Hole: A Remediative Approach to the Filmmaking of the Coen Brothers Gregg Barrie PhD Film Studies Thesis University of Dundee February 2021 Word Count – 99,996 Words 1 Going Down the ‘Wabbit’ Hole: A Remediative Approach to the Filmmaking of the Coen Brothers Table of Contents Table of Figures ..................................................................................................................................... 2 Declaration ............................................................................................................................................
    [Show full text]
  • To Academy Oral Histories Peggy Robertson
    Index to Academy Oral Histories Peggy Robertson Peggy Robertson (Script supervisor, Assistant to Alfred Hitchcock) Call number: OH131 The Academy (London theater), 6 Academy Awards, 137, 213, 264-265, 304-305, 379 ADAM AND EVELYNE, 12 ALFRED HITCHCOCK PRESENTS (television), 170, 203 Allardice, James, 196 Allen, Jay Presson, 276-277, 281 American Film Institute, 379-380 Andrews, Julie, 149, 286, 288-289 Antonioni, Michelangelo, 226, 299 Arosenius, Per-Axel, 319 Arrigo, Frank, 282-283 Asprey's (jewelry store), 118 Asquith, Anthony, 17, 19 Association of Cine Technicians (A.C.T.), 27, 56-57, 127 Baird, Teddy, 24 Baker, Diane, 240, 259-260, 277, 280 Balcon, Michael, 77 Bass, Saul, 204-205 Bates, Michael, 358 Batliner, William, 282 Beeson, Paul, 106-107 Bergdorf Goodman (department store), 178, 257-258 Bergman, Ingrid, 86, 88-89, 94-98, 111-112, 222, 354, 380 Berkeley, Ballard, 110 Bernstein, Sidney, 102-103, 222 Berwick, Ray, 234, 237, 256 THE BEST YEARS OF OUR LIVES, 79 THE BIRDS, 168, 199, 228-229, 232-264, 267-268, 271-272, 277, 282, 289 Black, Karen, 365-366 BLACK CHIFFON (play), 84, 141 BLACK CHIFFON (unproduced film), 61, 84, 141-143 BLACK NARCISSUS, 71 Bodega Bay, California (location shooting), 238 Bogdanovich, Peter, 188, 274-275, 380-381 Boileau, Pierre, 199 Bone, Bob, 255 Booth, Margaret, 190 Boucher, Anthony, 201, 229 Boyle, Robert, 108, 178, 185-186, 189, 195, 234, 246-247, 255, 282, 298, 374, 378 Bridie, James, 89 Brown, James H., 244 Brown, Ned, 277 Browne, Roscoe Lee, 301, 312, 318 A Bullet in the Ballet (novel), 135 Bullock's
    [Show full text]
  • Hitchcock's Appetites
    McKittrick, Casey. "Epilogue." Hitchcock’s Appetites: The corpulent plots of desire and dread. New York: Bloomsbury Academic, 2016. 159–163. Bloomsbury Collections. Web. 28 Sep. 2021. <http://dx.doi.org/10.5040/9781501311642.0011>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 28 September 2021, 08:18 UTC. Copyright © Casey McKittrick 2016. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. Epilogue itchcock and his works continue to experience life among generation Y Hand beyond, though it is admittedly disconcerting to walk into an undergraduate lecture hall and see few, if any, lights go on at the mention of his name. Disconcerting as it may be, all ill feelings are forgotten when I watch an auditorium of eighteen- to twenty-one-year-olds transported by the emotions, the humor, and the compulsions of his cinema. But certainly the college classroom is not the only guardian of Hitchcock ’ s fl ame. His fi lms still play at retrospectives, in fi lm festivals, in the rising number of fi lm studies classes in high schools, on Turner Classic Movies, and other networks devoted to the “ oldies. ” The wonderful Bates Motel has emerged as a TV serial prequel to Psycho , illustrating the formative years of Norman Bates; it will see a second season in the coming months. Alfred Hitchcock Presents and The Alfred Hitchcock Hour are still in strong syndication. Both his fi lms and television shows do very well in collections and singly on Amazon and other e-commerce sites.
    [Show full text]
  • Annual Report
    2017 ANNUAL REPORT STATE OF OKLAHOMA DEPARTMENT OF CONSUMER CREDIT CONTENTS MISSION STATEMENT 1 ADMINISTRATOR’S REPORT 2 COMMISSION ON CONSUMER CREDIT 8 DEPARTMENT STAFF 9 ORGANIZATIONAL STRUCTURE 10 MORTGAGE LENDERS 11 MORTGAGE BROKERS 23 MORTGAGE LOAN ORIGINATORS 31 SUPERVISED LENDERS 213 DEFERRED DEPOSIT LENDERS 228 RENT-TO-OWN 231 PAWNBROKER’S 235 PRECIOUS METAL & GEM DEALERS 247 CREDIT SERVICE ORGANIZATIONS 252 HEALTH SPAS 255 NOTIFICATIONS 262 CONSUMER LITIGATION FUNDERS 331 COMMISSION MEETING MINUTES 333 Scott Lesher Administrator Email: [email protected] Telephone: (405)-521-3653 Department of Consumer Credit 3613 N.W. 56th Street, Suite 240 · Oklahoma City, OK 73112 Telephone: (405)-521-3653 · Fax: (405)-521-6740 Statewide Consumer Line: (800)-448-4904 Website: https://www.ok.gov/okdocc MISSION STATEMENT We protect and educate consumer buyers, lessees and borrowers against unfair practices, and are fair and impartial in the regulation of consumer credit transactions in Oklahoma. 1 ADMINISTRATOR’S REPORT THE ADMINISTRATOR’S REPORT INCLUDES INFORMATION PURSUANT TO TITLE 14A O.S. § 6-104 (5), AND IS EXPANDED TO INCLUDE OTHER RESPONSIBILITIES AND ACCOMPLISHMENTS OF THE DEPARTMENT OF CONSUMER CREDIT. The Department of Consumer Credit annually licenses or registers over 13,051 credit-related organizations including mortgage lenders, mortgage brokers, mortgage loan originators, supervised lenders, deferred deposit lenders, rent-to-own dealers, pawnbroker’s, precious metal and gem dealers, credit service organizations, health spas, consumer litigation funders, and notifications in relation to acceptance companies and businesses that finance goods and services for Oklahoma consumers. There are 6,355 licensee offices which are periodically investigated or examined.
    [Show full text]
  • 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.
    [Show full text]
  • The Queer History of Camp Aesthetics & Ethical
    Seattle Pacific University Digital Commons @ SPU Honors Projects University Scholars Spring 6-7-2021 FROM MARGINAL TO MAINSTREAM: THE QUEER HISTORY OF CAMP AESTHETICS & ETHICAL ANALYSIS OF CAMP IN HIGH FASHION Emily Barker Follow this and additional works at: https://digitalcommons.spu.edu/honorsprojects Part of the Fashion Design Commons, and the Lesbian, Gay, Bisexual, and Transgender Studies Commons Recommended Citation Barker, Emily, "FROM MARGINAL TO MAINSTREAM: THE QUEER HISTORY OF CAMP AESTHETICS & ETHICAL ANALYSIS OF CAMP IN HIGH FASHION" (2021). Honors Projects. 118. https://digitalcommons.spu.edu/honorsprojects/118 This Honors Project is brought to you for free and open access by the University Scholars at Digital Commons @ SPU. It has been accepted for inclusion in Honors Projects by an authorized administrator of Digital Commons @ SPU. FROM MARGINAL TO MAINSTREAM: THE QUEER HISTORY OF CAMP AESTHETICS & ETHICAL ANALYSIS OF CAMP IN HIGH FASHION by EMILY BARKER FACULTY MENTORS: ERICA MANZANO & SARAH MOSHER HONORS PROGRAM DIRECTOR: DR. CHRISTINE CHANEY A project submitted in partial fulfillment of the requirements for the Bachelor of Arts degree in Honors Liberal Arts Seattle Pacific University Presented at the SPU Honors Research Symposium June 7, 2021 1 Abstract: ‘Camp’ has become a buzzword in fashion over the last few years, due to a rise in popularity following the 2019 MET Gala theme, “Camp: Notes on Fashion.” Based on Susan Sontag’s 1964 book “Notes on Camp,” the event highlighted many aesthetic elements of Camp sensibilities, but largely ignores the importance of the LGBTQ+ community in Camp’s development. In this piece, I highlight various intersections of Camp and queerness over the last century and attempt to understand Camp’s place in High Fashion today.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 58Th Southern California Journalism Awards Bill Rosendahl Public Service Award
    FIFTY-EIGHTH ANNUAL5 SOUTHERN CALIFORNIA8 JOURNALISM AWARDS LOS ANGELES PRESS CLUB JRNLad_LA Press Club Ad_2016.qxp_W&L 6/16/16 11:43 PM Page 1 We are proud to salute our valued comrade-in-arms ERIN BROCKOVICH Upon her receipt of the Los Angeles Press Club’s BILL ROSENDAHL PUBLIC SERVICE AWARD Erin is America’s consumer advocate and passionate crusader for environmental accountability from corporations and government. We are privileged to work side-by-side with her on so many essential causes, and look forward to many more years of mutual dedication to the prime interests of our fellow citizens. With great respect and gratitude, PERRY WEITZ ARTHUR M. LUXENBERG 212.558.5500 W E I T Z LUXENBERG www.weitzlux.com 7 0 0 B R O A D W A Y | N E W Y O R K , N Y 1 0&0 0 3 | B R A N C H O F F I C E S I N N E W J E R S E Y & C A L I F O R N I A th 58 ANNUAL SOUTHERN CALIFORNIA JOURNALISM AWARDS A Message From the President Celebrating a Record-Shattering Year Welcome to the 58th Annual Southern California Journalism Awards! Tonight we celebrate the efforts of all our nominees, whose work was selected from a record-shattering 1,011 submissions. The achievements of those receiving our highest honorary awards tonight are nothing less than astounding. Our President’s Award goes to Jarl Mohn, who is being recognized for his tremendous impact on television and radio networks, and who now serves as President and CEO of NPR.
    [Show full text]
  • Blood Meridian Or the Evening Redness in the West Dianne C
    European journal of American studies 12-3 | 2017 Special Issue of the European Journal of American Studies: Cormac McCarthy Between Worlds Electronic version URL: https://journals.openedition.org/ejas/12252 DOI: 10.4000/ejas.12252 ISSN: 1991-9336 Publisher European Association for American Studies Electronic reference European journal of American studies, 12-3 | 2017, “Special Issue of the European Journal of American Studies: Cormac McCarthy Between Worlds” [Online], Online since 27 November 2017, connection on 08 July 2021. URL: https://journals.openedition.org/ejas/12252; DOI: https://doi.org/10.4000/ejas. 12252 This text was automatically generated on 8 July 2021. European Journal of American studies 1 TABLE OF CONTENTS Introduction: Cormac McCarthy Between Worlds James Dorson, Julius Greve and Markus Wierschem Landscapes as Narrative Commentary in Cormac McCarthy’s Blood Meridian or the Evening Redness in the West Dianne C. Luce The Novel in the Epoch of Social Systems: Or, “Maps of the World in Its Becoming” Mark Seltzer Christ-Haunted: Theology on The Road Christina Bieber Lake On Being Between: Apocalypse, Adaptation, McCarthy Stacey Peebles The Tennis Shoe Army and Leviathan: Relics and Specters of Big Government in The Road Robert Pirro Rugged Resonances: From Music in McCarthy to McCarthian Music Julius Greve and Markus Wierschem Cormac McCarthy and the Genre Turn in Contemporary Literary Fiction James Dorson The Dialectics of Mobility: Capitalism and Apocalypse in Cormac McCarthy’s The Road Simon Schleusener Affect and Gender
    [Show full text]
  • Peeping Through the Holes
    Peeping Through the Holes Peeping Through the Holes: Twenty-First Century Essays on Psycho Edited by Eugenio M. Olivares Merino and Julio A. Olivares Merino Peeping Through the Holes: Twenty-First Century Essays on Psycho, Edited by Eugenio M. Olivares Merino and Julio A. Olivares Merino This book first published 2013 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2013 by Eugenio M. Olivares Merino and Julio A. Olivares Merino and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-4475-6, ISBN (13): 978-1-4438-4475-8 TABLE OF CONTENTS Acknowledgements ................................................................................... vii Preface...................................................................................................... viii Chapter One................................................................................................. 1 Hitchcock and the Hollywood Production Code: Censorship and Critical Acceptance in the 1960s María del Carmen Garrido Hornos Chapter Two.............................................................................................. 25 “I Don’t Hate Her. I Hate What She’s Become:”
    [Show full text]
  • 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.
    [Show full text]