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Cinematography Of Hitchcock

’s Psycho Essay, Research Paper


Alfred Hitchcock is renown as a master cinematographer (and


editor), notwithstanding his overall brilliance in the craft of


film. His choice of black and white film for 1960 was regarded


within the film industry as unconventional since color was


perhaps at least five years the new standard. But this worked


tremendously well. After all, despite the typical filmgoer?s


dislike for black and white film, Psycho is popularly heralded


among film buffs as his finest cinematic achievement; so much


so, that the man, a big name in himself, is associated with the


film, almost abovehis formidable stature. Imagining it in color,


Psycho would not appear as horrific, and maybe it would also


not be, as a whole, as unified as it now stands, nor


memorable. Black and white has a quality of painting things


starkly, showing plainly truths about character, the emotional


determination or mood, as in vulnerability, and other


inexplicable, purely artistic elements. Regular among his


works, Hitchcock opens the film with a hovering crane shot


coasting over the setting of Phoenix, Arizona. Even without


the mysterious, chilling soundtrack, the shot itself watched in


silence evokes a timid passage into danger. In a long take it


sweeps across the cityscape to build initial curiosity in the


viewer, and then surpasses a curtain-drawn window into the


presence of a hotel room?s trysting occupants. Immediately


the viewer is called into confronting his/her discretion


regarding those things we are not customarily meant to see,


in such ideas as privacy and good taste. How far should the


law step into a man?s world before he is discovered with


reasonable certitude for engaging in illegal activities? This


questi

on can still come to mind about Norman Bates when


he?s interrogated by Arbigast, even though it follows his


murder of Marion Crane. Norman obviously growing in


tension, the camera sadistically watches him from a low


angle, bearing its aim on his throat as he feverishly chews


and swallows candy corn bits. He?s suggested as a victim in a


way, despite the viewer?s (probably, (in moral optimism))


routine support of the law. One can feel sorry for him. And


how much do we question Norman?s character as he spies


Marion undressing through the parlor wall peephole?


Particularly today the viewer would likely question it less than


one watching Psycho during its first, theatrical release, what


with modern films? overwashing of the senses in gore,


mechanical sex and violence to program unconscious


indifference in viewers. Maybe it doesn?t come to mind as


readily because right after seeing the profile shot of Norman


hiding in the peephole light and shadows, there?s a cut to the


camera?s — or the viewer?s — voyeuristic assault on Marion?s


privacy. This lessens Norman?s culpability. But noticing him in


the act brings wonder to uncovering peoples? secrets. Maybe


these examples suggest engrossment of passive violence or


wrong to such a modest intensity that the horror of the murder


scenes still shock today?s viewer. Of course those scenes are


further dramatized by Hitchcock?s fast editing; indicative of


how wild and dangerous events occur within a trice of time in


real life. And the awe is preserved by not mulling over the


active violence in any indulgence, or further screen time.


Mastery of just a few core elements in film apparently intensify


its experience; of all, a compelling synergism for even an


ordinary story.

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