Psychosis in Films: an Analysis of Stigma and the Portrayal in Feature Films
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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. -
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:” -
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. -
The Fisher King
Movies & Languages 2018-2019 Psycho About the movie (subtitled version) DIRECTOR Alfred Hitchcock YEAR/COUNTRY 1960 / USA GENRE Thriller ACTORS A. Perkins (Norman Bates), J. Leigh (Marion Crane), J. Gavin (Sam Loomis), V. Miles (Marion’s sister, Lila), M. Balsam (Arbogast) PLOT Marion Crane is a trusted secretary who steals $40,000 in cash that her boss entrusts her with, planning to take it to her lover, Sam, and start a new life. However, she is not very good at being a criminal and makes a policeman suspicious, and also a car salesman when she trades in her car. Due to a heavy rainstorm, she ends up at the Bates motel, which is well off the main highway, where the shy manager offers her a room, a meal and a chat. They have a conversation about life’s traps which makes Marion decide to give the money back. However, Marion is murdered in the shower before she can carry out her plan. Wanting to get the money back without involving the police, Marion’s boss, her sister and the boss’s associate pay a private detective, Arbogast, to track her down. After notifying Lila and Sam that he is intending to interview Bates’ mother, Arbogast disappears, and the two searchers contact the local sheriff. Here they make some discoveries which lead them to go out to the motel themselves and solve the mystery. LANGUAGE This movie contains very little complex vocabulary – indeed, it contains relatively little dialogue. The English used, although American in accent, is standard and classic, with the slight exception of the sheriff, who uses a few more colourful expressions (e.g. -
Epilogue Psycho (1960) and the New Domestic Gaze
Epilogue Psycho (1960) and the New Domestic Gaze By the time Fort Apache appeared in theatres, the Hollywood studios were in deep crisis. As Schatz puts it, “business was declining rapidly. In fact, the fall- ing gross revenues and profits for all the studios would not only continue but accelerate over the coming years” (1999: 331). When the studios did begin to recover, Hollywood had lost its monopoly on the moving sound image. Television began to penetrate everyday life. So, in the late 20th century, cinema was no longer as central to the habits and practices of Americans as it had been during the period in which it alone had the power to move pictures, and thus people. In response, cinema began to dramatize this very transformation through its interrogation of the cinematic gaze. The Gaze Rather than defining the “cinematic gaze” in conceptual terms, let me describe the picture that most famously theorizes this gaze. I’m thinking of course of that seminal moment from Alfred Hitchcock’s film Psycho (1960) that takes place about 45 minutes into the picture. Marion Crane (Janet Leigh) has arrived at the Bates Motel with a bag full of money stolen from her employer. After having dinner with Norman, she decides to shower, presumably to wash away her guilt. Norman Bates (Anthony Perkins), in an adjoining room, takes a painting from the wall. Behind the frame, a hole in the plaster through which Norman watches Marion undress. Here I offer the context, but the scene is important not only for its function in this specific narrative, but because of its formal structure; what that structure says about cinema itself, and about the viewer’s symbolic participation in cinematic violence. -
Bates Motel Vs Psycho La Psicopatía
Marion Crane fue interpretada por Janet Leigh en Psicosis y por Rihanna en Bates Motel. Fotos: Youtube e IMDb aunque una serie de eventos van obs- y, a pesar de que Bates Motel está LA PSICOPATÍA taculizando que esto suceda. situada en la actualidad, lo constru- Norman presenta lagunas men- yeron exactamente igual, dándole En la película de Hitchcock, el prota- tales y desarrolla trastorno de perso- ese toque de los cincuenta que tanto gonista está inspirado en el asesino en nalidad múltiple, llegando a pensar caracteriza a la película. serie Ed Gein, también conocido como que su identidad es la de su madre. La paleta de colores es fría y las “El carnicero de Plainfi eld”, quien se ca- Esta enfermedad se caracteriza locaciones como bosques, senderos, racterizaba por fabricar objetos con las porque cada una de las personali- pueblos, la casa y el motel, generan partes de los cuerpos de sus víctimas. dades posee sus propios recuerdos, tensión. Estos tonos nunca se pier- Lámparas, zapatos, sillones, cinturones gustos y preferencias. Por lo regular den durante la serie, la cual mantie- hechos con piel humana decoraban su quien padece este trastorno no sabe ne una atmósfera mística a lo largo casa. De él tomaron inspiración varias que lo tiene, y sólo con el paso del de sus cinco temporadas. cinematográfi cas como La masacre de tiempo se da cuenta de ciertas cosas La escena de la ducha, que carac- Texas y American Horror Story, que que ha hecho. teriza tanto a Psycho, también fue im- hacen un guiño a la vida de Gein. -
WINTER 2017 Lemur.Duke.Edu
DUKE LEMUR CENTER OZMA WINTER 2017 lemur.duke.edu DISCOVER | PROTECT | ENGAGE LEMUR_NEWSLETTER_WINTER2017.indd 2 2/14/17 7:02 PM LETTER FROM THE DIRECTOR BY ANNE D. YODER, PH.D. Caring for more than 200 fragile and endangered primates walk into the classroom just hours after the tragedy had is never easy. When we began this adventure 50 years happened and teach a room full of eager undergraduates, ago, no guidelines for lemur care existed. To determine as if all was well. For me personally, and for every member the best foods to feed them, to diagnose their ailments, to of the DLC staff, I can tell you that October 26th was the encourage them to reproduce and to ourish --- initially, most painful day of our professional lives. all of it had to be learned on the y. But, over the years, we have gained vast knowledge about these remarkable Now, more than three months later, the pain is still fresh, animals and have come ever closer to perfecting our skills and the wound is far from mended. This newsletter, dedi- as their caretakers. And even though missteps sometimes cated entirely to our aye-ayes --- the fallen and those that occur, and occasional mysteries continue to perplex, remain --- is one step toward healing. In the pages to keeping an uninching eye on the lemur conservation follow, you will read about the incredible intelligence and prize has made it worth all the effort. It has been an honor charisma of our aye-ayes from the people who know them and a privilege to be caretakers to the world’s largest best. -
The Contemporary Gothic in Bates Motel Reviving Psycho…
We Still Need to Talk About Norman: The Contemporary Gothic in Bates Motel Renata Pires de Souza* Resumo: Estrelada por Vera Farmiga (Norma Bates) e Freddie Highmore (Norman Bates), Bates Motel estreou em 2013 como uma série de TV derivada de Psicose (Robert Bloch, 1959; Alfred Hitchcock, 1960). A proposta é construir uma prequel contemporânea para a história, que promete mostrar um retrato de Norman Bates durante sua adolescência, revelando a complexa relação entre ele e sua mãe. Alguns elementos góticos são trazidos de volta pela série, como a casa abandonada; sombras projetadas; ações que se passam à noite; a prática da taxidermia; a questão do duplo, do estranho e da paranoia. Assim, o objetivo deste trabalho é observar como Bates Motel revive e expande a história original, sobretudo em se tratando do gótico contemporâneo, no qual temos a retórica da psicanálise como um tema bastante explícito na narrativa, e não apenas como ferramenta para a análise do texto. Dentro dessa perspectiva, registra-se a impossibilidade de harmonia familiar, assunto crucial na série, visto que cada relação esconde algum tipo de problema. Ainda, tem-se a mãe monstruosa, figura ambígua, que extravasa o seu amor descomedido, ciúme e superproteção; bem como o herói patológico, figura introspectiva, que oculta sua monstruosidade. Reviver essa história, portanto, não apenas nos permite recordar uma narrativa perturbadora, mas também experimentar algo novo, visto que esse é o propósito da ficção derivativa: criar uma nova trama a partir daquela já conhecida pelo público. Palavras-chave: ficção derivativa, Bates Motel, gótico contemporâneo, mãe monstruosa, herói patológico. A glimpse into the world proves that horror is nothing other than reality. -
"Gender and Power in 'Psycho'" by Matthew Cohen
"Gender and Power in 'Psycho'" by Matthew Cohen Gender and Power in Psycho Alfred Hitchcock's classic thriller Psycho (1960) is not simply a story of murder and mental illness, but also of gender and power. At the outset of the film, the protagonist Marion Crane (Janet Leigh) and the villain Norman Bates (Anthony Perkins) are both "trapped" (to use Norman's phrasing) as subordinate partners in their respective male-female relationships. Marion is desperately stuck in a dead-end romantic entanglement with her non-committal boyfriend Sam Loomis (John Gavin), while Norman appears to be ensnared in an unusually crippling relationship with his overbearing Mother. Marion and Norman's dissatisfaction with their respective relationships mobilizes an internal conflict within each character in which both must struggle with the implications of gender and power in their personal lives. Hitchcock utilizes the Bates Motel as an experimental setting in which the traditional gender roles of the outside world may be challenged, thereby providing Marion and Norman with an environment where they are able play out their internal conflicts using each other as test subjects. The themes of gender and power are clearly palpable right at the outset of the film. In the very first shot we see of Marion, she is lying on a bed in a submissive position with Sam looming above her as the dominant male. We are immediately aware of the conventional gender-power structure. Despite Marion's obvious post-coital state, she appears deeply distressed at having breached her own sense of female propriety. She tells her lover, Sam, that she hates seeing him "in a place like this", referring to a seedy by-the-hour hotel. -
(1960) the Psyche of a Psycho Ancient Greek Philosophy Defined
Alfred Hitchcock’s PSYCHO (1960) The Psyche of a Psycho Ancient Greek philosophy defined “psyche” as an entity made up of two elements: soul and mind. Implicitly, like any other binomial unit, the whole aggregate malfunctions if one of its two elements breaks. Ancient Greek mythology presented Psyche as the personification of a woman who is loved by Eros, the God of Love. In modern psychology and psychoanalysis, the psyche defines the mental structure of a person regarded as its moving , motivating force. Hitchcock’s blockbuster Psycho touches all these definitions with a masterful cinematic brush. Norman Bates – the main character played by the amazing and very young Anthony Perkins – loses his mind and, consequently, his soul. He distortedly identifies his lost spirit with Marion Crane (Academy Award winner Janet Leigh), the sole visitor of the Bates Motel. This newly found Psyche/Marion motivates all of Norman’s future actions: while in search for his Psyche, Norman becomes a psycho. Although already in use since 1942, this term became wildly popular overnight due to Hitchcock’s most influential film of the same name. Do not look for hidden meanings or deep philosophical ideas in this movie. Psycho is a thriller bordering on the edge of horror, and nothing more. That being said, it is a very smart thriller, cleverly executed and splendidly constructed. Its impact was so significant due to its uniqueness that, at the time, it changed the genre forever. All thrillers “post-Psycho” have at least a speck of the Hitchcock-ean in them. Even today films cannot seem to be able to get away from it.