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In this essay I wish to explore some of the ways in which Hitchcock disturbs our understanding of Psycho through mismatching elements of character, dialogue and mise-en-scene in order to undermine Sigmund Freud’s theories on anal-compulsive behaviour and castration, and then to show how with the removal of generic logic, and the use of techniques developed for television, the director’s devious sense of humour runs riot.
I suggest that Mrs. Bates/the mother’s voice in Psycho by Alfred Hitchcock (1960) in its cinematic depiction and its nature as a Mother’s voice represents a sense of uncanny like Freud’s definition of uncanny. On the one hand, the voice illustrates a double (the other) who is a substitute for Norman’s lost self and an assurance against the annihilation to the ego. On the other hand, the voice shows his distorted identity because of his oppress mother. I explore the correlation between the maternal voice and child through Chion’s description of acousmetre, umbilical web, and his identification of the umbilical cord. Silverman’s clarifications of maternal voice and Kristeva’s idea about the maternal abjection are also other analysis of the voice which are provided to discover the uncanny proceeds from repressed infantile complex or the idea or thought has been surmounted. My analysis focuses on the relevance of the mother’s voice to the psychoanalytic theories which connect it to the child.
2014 •
This essay analyses some of the most significant manifestations of cinematic intertextuality generated by Alfred Hitchcock’s Psycho (1960): remakes, sequels, revisionist films and other aesthetic proposals; based on Bloom’s concepts of anxiety of influence and misreading as part of its theoretical framework. The objective is to elucidate whether the chain of influences created by the original hypotext has paved the way for its inclusion in the canon, as well as whether the pressure imposed by the brilliance of the original film –such as its contribution to the slasher movie subgenre– has resulted in a perennial debt of dimensions that have not as yet been overcome.
An interesting analysis for the horror Patrick Bateman, the protagonist of Bret Easton Ellis's American Psycho (1991), represents is to approach it from the category of the grotesque. The blankness, violence, pornography and consumerism which fill up the novel’s narrative inexorably move other components to the background. But horrific performances occasionally give some room for ludicrous moments. By employing this latter adjective, rather than putting them apart, I intend to mix up somewhat incongruous aspects, from horrible to comic, in an attempt to locate grotesque aspects in American Psycho.
Music Analysis
‘We All Go a Little Mad Sometimes. Haven't You?’ Musical Empathy in Hitchcock's Psycho2018 •
One may not immediately think of Mary Harron's 2000 film adaptation of Bret Easton Ellis's controversial novel American Psycho as a "food film." However, from its opening frames,
İstanbul Üniversitesi İletişim Fakültesi Dergisi, 2016/II 51: 49-71
A RESTRICTED LOOK AT PSYCHO: ON GAZE AND VOICE OVER2016 •
Psycho (Alfred Hitchcock, 1960) is of prime importance for the horror genre since Hitchcock places horror in settings of everyday life. It is also important for its narrative structure along with the editing of the shower scene, God's eye view shots of staircase scenes that limit the view of the audience, the use of voice over for making meaning, altering the identification of the viewer, the psychological aspect and score. The movie has had an unignorable effect on cinema with its sequels, prequel, a documentary about the movie, an avant-garde movie which is a replica, an appropriation of Psycho presented as an art installation, a semibiographic movie on the process of producing the movie, a murder scene that became a cliché as well as borrowings or references in other movies and countless books, reviews and articles about it. Psycho is a favorite subject of the studies which primarily analyze its narrative, film score, and psychoanalysis. This study, choosing a restricted angle, aims to analyze the gaze and voice over with regard to the relationship between characters and places. With this aim the embodied metaphors which are closely linked with 'the eye' in the movie are also researched. The look, the gaze and the metaphors of the eye contribute greatly to the aesthetics and psychology of the movie. The use of the gaze and voice over for making meaning to reflect the psychological states of the characters is researched thoroughly. In accordance with this purpose, the techniques and elements which are relevant to this subject are mentioned including mise-en-scéne, cinematography, film setting and decor.
2024 •
The Grove - Working Papers on English Studies
Female Native American Storytelling: Female Storytellers in Native culture. Presence in Contemporary Native American Literature. Leslie Marmon Silko2015 •
2020 •
Instituto Scientia eBooks
Ser Mulher e Ser Militar: Conquistas e Desafios Do Segmento Feminino No Exército Brasileiro Na Cidade De Manaus2022 •
Journal of Medical Genetics
Whole genome paired-end sequencing elucidates functional and phenotypic consequences of balanced chromosomal rearrangement in patients with developmental disorders2019 •
2017 •
Journal of Allergy and Clinical Immunology
Efficacy of combination treatment with anti-IgE plus specific immunotherapy in polysensitized children and adolescents with seasonal allergic rhinitis2002 •
Revista Brasileira de Ciências do Esporte
Las prácticas corporales en la educación corporal2012 •
Archivos de Neurociencias
Primary alveolar soft tissue sarcoma of the central nervous system. Case report2021 •
Anaesthesia and Intensive Care
Estimation of Cardiac Output by Noninvasive Echocardiographic Techniques in the Critically Ill Subject1997 •