DOCSLIB.ORG

Activity Worksheets LEVEL 3 Teacher Support Programme

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

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. 1 Inside the newspaper. g A policeman wants to see …………………’s 2 Inside the drawer. driving papers. 3 Under the bed. h ………………… follows her to a garage. d Why does Marion feel sorry for Norman i ………………… buys a new car at the Bates? … garage. 1 Because he doesn’t have many visitors. 3 Which of these words describe Marion Crane? 2 Because he doesn’t have much to do with Put check marks (3). his time. a greedy c 3 Because he is like a lost child, living all b happy c his life in a small hotel with his mad c honest c mother. d nervous c Chapter 6 e patient c 6 Answer the questions. Chapters 4–5 a Marion thinks, ‘After I have a shower … I’ll 4 Who says these things? Choose the right be as clean as snow.’ What does she mean? person from the box. ……………………………………………… b Who is watching Marion as she undressed? Norman Bates Marion Crane ……………………………………………… Norman’s mother c Pearson Education Limited 2008 Psycho - Activity worksheets 1 of 2 PENGUIN READERS Activity worksheets LEVEL 3 Teacher Support Programme Psycho Photocopiable c What does Marion do before taking a shower? e Arbogast doesn’t run away from the old ……………………………………………… woman because … d Who kills Marion Crane? 1 he is afraid. ……………………………………………… 2 he is too surprised to move. e What does the old woman look like? 3 he thinks she knows something about ……………………………………………… Marion. Chapters 7–8 4 she wanted to hide at the motel. 7 Match the two parts of the sentences. 5 it is very strange. a Norman pushes Marion’s car into the Chapters 11–12 swamp … 10 Finish these sentences. b Lila Crane is worried about Marion … a Arbogast is more than c Arbogast is looking for Marion Crane … ……………………………………………… d Arbogast doesn’t think Marion is in b Sam and Lila go to tell Phoenix … ……………………………………………… 1 because Mr Lowery saw Marion in her car. c The sheriff picks up the phone and 2 because she was missing for a week. ……………………………………………… 3 because he wants to hide the dead body. d The sheriff tells Sam and Lila that Mrs Bates 4 because Mr Lowery doesn’t want to call the ……………………………………………… police and he just wants his money back. e Norman takes his mother down to 8 Are these sentences right ( 3) or wrong (7)? ……………………………………………… If it’s wrong, correct the mistakes. f At the motel, Sam and Lila search a Norman wants to tell the police about his ……………………………………………… mother. c g In the bathroom, Lila finds ……………………………………………… ……………………………………………… b Norman leaves the newspaper in the motel h Lila thinks Bates killed Marion for room. c ……………………………………………… ……………………………………………… Chapters 13–15 c Norman puts Marion’s body in her car. c 11 Put these sentences in the correct order. ……………………………………………… Chapter 13: (1–5) d Lila Crane is sure Marion is with Sam a Lila goes into the bedroom. c Loomis. c b Lila goes into Norman’s room. c ……………………………………………… c Bates goes back to the house. c e Mr Arbogast is a police detective. c d Lila goes into the old house. c ……………………………………………… e Norman hits Sam’s head. c f At first, Arbogast thinks Sam and Lila Chapter 14: (6–10) know where Marion is. c f Sam catches the old woman and takes the ……………………………………………… knife. c Chapters 9–10 g Lila goes into the cellar. c 9 Match the two parts of the sentences. h The old woman tries to kill Lila. c a Norman doesn’t tell Arbogast he knew Marion i They realise that the old woman is Bates. c because … j Lila realises that Mrs Bates is dead. c b Arbogast thinks that perhaps Marion gave 12 Use the words to write two sentences about Norman money because … Chapter 15. c Arbogast wants to talk to Mrs Bates a doctor / tell / Sam and Lila / about / Bates. because … ……………………………………………… d Arbogast feels a little afraid in the house b Bates / become / his / mother / in / his / mind. because … ……………………………………………… c Pearson Education Limited 2008 Psycho - Activity worksheets 2 of 2 PENGUIN READERS Progress test LEVEL 3 Teacher Support Programme Psycho Photocopiable 1 Choose the right names from the box and complete 3 Arbogast found that the front door was open. the sentences. 4 Arbogast could see the shadow of the old woman behind the curtain. Marion Crane Lila Crane Tommy Cassidy 5 Are these sentences right ( 3) or wrong (7)? Mr Lowery Sam Loomis Arbogast a Only Sam went to the motel to look for Norman Bates Jud Chambers Arbogast. c a Marion Crane wants to marry ……………… . b Both Sam and Lila went to visit Sheriff b ……………… works for Mr Lowery. Chambers. c c ……………… is Mr Lowery’s customer. c The Sheriff called Norman late at night. c d ……………… asks Marion to take the money to d Norman carried his mother out of the bedroom, the bank. and into the kitchen. c e ……………… has to pay his father’s debts. e Lila thinks that something terrible happened to f ……………… is the owner of Bates Motel. Marion at Bates Motel. c g Mr Lowery asks ……………… to look for Marion. f Sam and Lila go and search Room Ten, where h Marion’s sister is ……………… . Marion stayed in. c i Lila thinks Marion is staying with ……………… . g In Room One, Lila found a small piece of j Sam and Lila visits ………………, the sheriff. paper in the bathtub. c 2 Circle YES or NO. 6 Choose the right answer. a Did Marion want to marry Sam? YES NO a Lila thought she could see from the …………… b Did Marion take the money because that Norman’s mother was in the bedroom a short Sam asked her to? YES NO time ago. c Did Mr Lowery report to the police? YES NO 1 large cupboard d Did Marion change her car? YES NO 2 small table near the bed e Did Marion find a place to stay in the 3 bedclothes middle of nowhere? YES NO b Lila saw …………… in Norman’s room. f Did Norman eat dinner with Marion 1 a tidy bed in the house? YES NO 2 children’s play-things g Did Marion return the money? YES NO 3 lots of flowery dresses h Did Norman take the money? YES NO c The person who attacked Lila had long 3 Choose the correct words in italics. …………… and wore a flowery dress. a Arbogast is a police / private detective. 1 gray hair b Lila thought Sam was hiding / taking Marion 2 brown hair somewhere. 3 red hair c Norman forgot to turn on / off the sign. d …………… saved Lila. d Arbogast thought Marion offered Norman a lot of 1 Norman money / food. 2 Norman’s mother e Norman said his mother was dead / ill. 3 Sam f Arbogast was angry / surprised to know that 7 Match the questions and answers. Norman’s mother met Marion. a Where is Marion killed? … 4 Match the two parts of the sentences. b Where is Arbogast killed? … a After phoning Lila with the news of his c Where is Lila attacked? … conversation with Norman Bates, … d Where is Sam attacked? … b Looking up at the old house, … e Where is the money at the end of the story? … c After climbing the hill, … 1 In the bathroom at Bates Motel. d Feeling sure that the son was busy somewhere, … 2 In the cellar of the house behind the motel. 1 Arbogast decided to go upstairs and talk to the 3 In the swamp. mother alone. 4 At the stairs in the house behind the motel. 2 Arbogast drove back to the motel. 5 In the motel office. c Pearson Education Limited 2008 Psycho - Progress test 1 of 1.
Recommended publications
  • © Film Education TEACHERS' NOTES This Study Guide Is Aimed At

    © Film Education TEACHERS' NOTES This Study Guide Is Aimed At

    TEACHERS’ NOTES This study guide is aimed at students of GCSE Media Studies, A’Level Media Studies, ALevel Film Studies and GNVQ Media: Communication and Production (Intermediate and Advanced). The guide looks at Alfred Hitchcock as a director and producer; narrative structure; characterisation; the use of music, motits and irony; promotion of the film and problems of censorship. Psycho: Certificate 15. Running Time 109 minutes. MAJOR CREDITS FOR PSYCHO Psycho 1960 (Paramount) Producer: Alfred Hitchcock Director: Alfred Hitchcock Screenplay: Joseph Stefano L)irector of Photography: John L. Russell Editor: George Tomasini Music: Bernard Herrmann Art Directors: Joseph Hurley Robert Clatworthy Cast: Anthony Perkins Janet Leigh Vera Miles John Gavin Martin Balsam John Meintire Oscar Nominations 1960: Best Director Best Supporting Actress (Janet Leigh) Best B/W Cinematography Best B/W Art Direction © Film Education 1 INTRODUCTION BY DEREK MALCOLM Many filmmakers would say that there’s no such thing as a movie capable of shaking the world. But some still attempt to make them. Those who succeed are rare, and the strange thing is that even the lucky ones don’t appear to know they are doing it at the time. In fact, it sometimes takes years to realise what really is a great film or what may have looked wonderful at the time but was just a momentary flourish. Most of the films on this particular list didn’t so much shake the world as become memorable because, when you look back on them, they seem so much better than we may have thought at the time. But memories are short and the opportunity to see the full flowering of cinema history is denied to all but a few.
  • ^^>Edean (^Fz.Hool (SA) 2008 ./J Ot Fare Well, Ut Fare Forward

    ^^>Edean (^Fz.Hool (SA) 2008 ./J Ot Fare Well, Ut Fare Forward

    ^^>edean (^fz.hool (SA) 2008 ./J ot fare well, ut fare forward, voyagers.' T.S. Eliot: Four Quartets ROEDEAN SCHOOL (SA) GUIDING PRINCIPLES Values Truth, Honour, Courtesy, Freedom Academic Excellence Achieve the highest academic standards Develop and sustain an excellen t work ethic Monastic School Provide the optimum, all-girl environment in which the potential to bec ome a successful, independent young woman is nurtured Christian School A school which is based on Christian principles and beliefs and which obs erves the Anglican faith Progressive Curriculum Develop an individual independence of thought that enables pupils to make sound judgements and face challenges Develop an ethos of community-service and partnership integrated into the curriculum Counsel, guide, and nurture each girl, caring for her emotion al well-being Provide abundant opportunities to express creative talejvt. across the curriculum, including art, drama, and music Successfully South African Develop pupils to become leading women in touch with the broader issues and community in both a South African and global context Sustain our div erse and integrated cultural community Link the traditions of Roedea n's past with the cha I lenges of the future Teachers Develop and sustain a complement of remarkable teachers Strive to creat e opportunities for the development of leadership, fostering a climate of empowerment and participation Sport Provide opportunities for full participation for all Eguip pupils with the sk ills to enhance their achievements Ensure that the guality of coaching and fa cilities is of the highest calibre Facilities Treasure the heritage of the school buildings, set in serene grounds and b eautiful gardens Continue to build world-class facilities linked to the pr ogressive curriculum School Community To foster a sense of community spirit, interdependence, and respect tha t serves as a model for and has impact upon the wider community PI IRLISHED BY HOT TOMATO COMMUNICATIONS: www.hottomato.co .za 1 If you have a garden and a library, you have everything you need.
  • Distribution Agreement in Presenting This Thesis As A

    Distribution Agreement in Presenting This Thesis As A

    Distribution Agreement In presenting this thesis as a partial fulfillment of the requirements for a degree from Emory University, I hereby grant to Emory University and its agents the non-exclusive license to archive, make accessible, and display my thesis in whole or in part in all forms of media, now or hereafter now, including display on the World Wide Web. I understand that I may select some access restrictions as part of the online submission of this thesis. I retain all ownership rights to the copyright of the thesis. I also retain the right to use in future works (such as articles or books) all or part of this thesis. Maron Tate March 6, 2019 Maternity and the Aging Female Body in Postmodern Hollywood Horror Film by Maron Tate Michele Schreiber Adviser Media Studies Michele Schreiber Adviser Tanine Allison Committee Member Amy Aidman Committee Member Joseph Skibell Committee Member 2019 Maternity and the Aging Female Body in Postmodern Hollywood Horror Film By Maron Tate Michele Schreiber Adviser An abstract of a thesis submitted to the Faculty of Emory College of Arts and Sciences of Emory University in partial fulfillment of the requirements of the degree of Bachelor of Arts with Honors Media Studies 2019 Abstract Maternity and the Aging Female Body in Postmodern Hollywood Horror Film By Maron Tate Beginning in the 1960s and progressing rapidly with the closure of the classical period in 1968, Hollywood departed from the supernatural “thing” theme of the horror genre and became fascinated with the familiar, and specifically, the familial. An era of maternity-coded films emerged, specifically with the debut of Psycho (1960), progressing to where Hollywood horror cinema stands now: a conglomeration of remakes, reinventions, and revisitations to recognizable themes entrenched in white (and often female) victimhood, paranormal visits, inexplicably violent strangers, and disease.
  • The Horror Within the Genre

    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

    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 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

    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.
  • 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

    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

    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

    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.
  • The Fisher King

    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

    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.