S • Homophones • One-Word Titles • Cool Beans • Landmark Addresses • Light the Way Multiple “A”S 1
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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). -
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. -
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. -
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. -
Psycho INDIANA UNIVERSITY PRESS FILMGUIDE SERIES Harry Geduld and Ronald Gottesman, General Editors Filmguide to Psycho
Filmguide. to Psycho INDIANA UNIVERSITY PRESS FILMGUIDE SERIES Harry Geduld and Ronald Gottesman, General Editors Filmguide to Psycho JAMES NAREMORE INDIANA UNIVERSITY PRESS Bloomington London Copyright© 1973 by Indiana University Press All rights reserved No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage and retrieval system, without permission in writing from the publisher. The Association of American University Presses Resolution on Permissions constitutes the only exception to this prohibition. Published in Canada by Fitzhenry & Whiteside Limited, Don Mills, Ontario Library of Congress catalog card number: 72-88636 ISBN: 0-253-39307-8 cl. 0-253-39308-6 pa. Manufactured in. the United States of America 2 3 4 5 6 80 79 78 77 76 For Jay, who likes horror movies I would like to thank Harry Geduld and Ron Gottesman for giving me this opportunity. My thanks also to Murray Sperber and Charles Eckert, who spent hours talking with me about Psycho. J,N, contents 1 Credits 3 2 Outline 5 3 Aesthetics of Repression 9 4 The Production 19 5 Analysis 25 6 Summary Critique 72 A Hitchcock Filmography 81 Selected Bibliography 83 Rental Sources 87 vii -- Filmguide to Psycho ---- 1 . credits PSYCHO Paramount Pictures, 1960 Producer: Alfred Hitchcock Direction Alfred Hitchcock Screenplay Joseph Stephano, from the novel by Robert Bloch Photography John L. Russell, A.s.c. Special EfJects Clarence Champagne Art Direction Joseph Hurley, Robert Clatworthy Sets George Milo Music Bernard Herrmann Sound Engineering Waldon Watson, William Russell Title Design Saul Bass Editing George Tomasini Assistant Director Hilton Green Costumes Helen Colvig Time 109 minutes Filmed in Hollywood, partly on the lots of the old Universal Stu dios. -
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. -
PSYCHO NOTES 1. the Mother, Norma Bates, Is a Classic Super-Ego Character, Internalized by Norman. the Tension in the Film Comes
PSYCHO NOTES 1. The Mother, Norma Bates, is a classic super-ego character, internalized by Norman. The tension in the film comes from not knowing that she is actually dead and mummified. She is the ‘thing that refuses to die’ in the sense that Norman’s internalization of her keeps her alive and her body is not buried but treated as alive. 2. The house is a classic ‘uncanny’ house: Victorian, high on a hill, ‘empty’. The house contains the secret, and getting into the house stages the attempts to uncover the truth. 3. The theme of voyeurism is a perversion that is itself perverted. Instead of leading to sexual pleasure, Norman adopts the persona of his mother to kill Marion Crane. His pleasure is sadistic rather than sexual or, rather, he derives sexual pleasure from the stabbing — as God seems to do in the case of Sta. Theresa. 4. The drain and the eye dominate the shower scene; this is the Real! The camera wanders away, pausing to look at objects in the room, and then drifts out the window toward the house. 5. The role of the voice is key. Normal ventriloquizes his mother’s voice, staging conversations that the audience takes to be actual until they discover the mother’s corpse. Is there, like in Vertigo, a phrase? Possibly the shift in the role of the acousmatic voice is an indicator that Psycho is a different kind of ‘discourse’. 6. What is the meaning of the taxidermy theme, apart from the role it plays in explaining Norman’s anxiety to preserve the mother’s body.