Pay attention to the images of human eyes (of Norman, Miriam, and Lila),
eye sockets, which are associated with the sink drainage, light and
the swamp. Why? With visual brightness set as a contrast to
dark holes and traps, what does Hitchcock suggest about human psyche?
Holes, on the other hand, are for the voyeurs. Who are the
voyeurs in the film?
How are the characters associated with birds, innocent birds or birds of
Hitchcock's presence in his films is motivated not only by his wish
to observe and control--and, particularly, to control by observing--but
also by a constant quest for closeness to his characters, which
finds its most potent expression in two practices. One is his celebrated
of point-of-view shots--often praised for their power to generate
physical and psychological identification between spectator and character,
but equally effective in uniting a character's consciousness and perspective
with that of the director himself. The other is H's habit of injecting
himself¡Kinto the world of his films. He does this not by
becoming a character, but in two other ways: through his famous
appearances, which allow him to enter the action directly, costumed
yet unmistakably himself, and through his use of characters and objects
that serve as surrogates for his own presence.
H's cameos are self-publicizing jokes and ironic punctuation marks, no
question about it. They also have perkily nondramatic and illusion-breaking
qualities. ¡Ksomething more resonant: manifestation of H's deep-seated
wish not only to speak through, but to become physically integrated
the famous shower scene--in 42 seconds there are 78 separate shots
Hitchcock's treatment of women.
II. Secrecy and greed: Marian -- but is she the only one guilty.
His relationship with his mother: closeness, mutual possession, necrophilia
Norman's voyeurism and murderousness, . . . , are clarified by Freud's
statement that in obsessional neurosis, regression of the libido to the
antecedent stage of the sadistic-anal organization is the most conspicuous
factor and determines the form taken by the symptoms. The impulse to love
must then mask itself under the sadistic impulse. The obsessive thought,
"I should like to murder you," means . . . nothing else but
"I should like to enjoy love of you."
Norman's confusion about sexual difference and appropriate sexual behavior
are similarly clarified by Freud's assetion that during the "pre-genital"
phase . . . the contrast between masculine and feminine
plays no part as yet; instead of it there is the contrast between active
and passive . . . That which in this period seems masculine
to us, regarded from the stand-point of the genital phase, proves to be
expression of an impulse to mastery, which easily passes over into cruelty.
Impulses with a passive aim are connected with the erotogenic zone of the
rectal orifice, at this period very important; the impulse of skoptophilia
(gazing) and curiosity are powerfully active.
III. Human Psyche: how the bright side is inseparable from the dark
and evil. Many characters are suspected of stealing the money.
IV. Images of birds and holes. Symbolic meanings of the names.
V. The camera eye: revealing the dark part of the unconscious.
VI. Is Norman completely explained away?
Psycho - includes
pictures, sounds, movies clips and more.
The - with essays, images, mpegs, sounds and a VRML 3d world about
Screenplay - transcript
of the action and dialogue.