Psycho Essay

How does Hitchcock’s Psycho construct representations of gender?

Alfred Hitchcock is a critically acclaimed Director of the horror and thriller genre, over the years from the start to end of his career, Hitchcock introduced and utilised many different techniques in film, such as using shots and prop placement to reveal information about certain characters, to make the audience of his films feel uncomfortable in a simple scene. The combination of his techniques made convincing and frightening horror movies for its time, inspiring many future directors and his films taking their place among the many true classics of cinema.

Hitchcock portrays gender roles in his films through multiple ways, shooting the scene in a specific way using the camera or by having props in the back ground. In the film Psycho, there are many examples of this. During the opening of the movie, the opening credits do not appear like a normal movie, rather they appear is a quick stabbing motion, the fast music behind them suggests that something desperate is happening while the credits go on, this is a big foreboding straight away as Marion, a character in the film is killed during the movie while being on the run, with the music that plays during the credits following here. The stabbing motion of the credits also hints at how she is killed by the same fate, as is the detective. After the credits a pan of the city fades in after the credits fade out and slowly pans to window on a building, showing that incidents like this could possibly happen anywhere. We are introduced to an intimate scene in which Marion Crane and her boyfriend Sam Loomis are together. Sam is standing over Marion who is on the bed looking up at him, possibly hinting at how Sam is a dominant male figure. However this quickly turns into a level shot, showing both as equal again since they are lovers and close to each other. Both characters are laid back and carefree, this is a good contrast point in the film, as all the other men Marion encounters have some form of dominance over her, or she has dominance over them.

After leaving, Marion heads to work and takes her place. She and her friend begin talking to each other, during this part of the scene the camera is level, even when Marion is standing initially. However while it may seem equal there are still subtle differences Hitchcock may have implemented to show the diversity between the two, even though they are equal women. Marion’s is wearing a dark colour of shirt, the shirt itself has no buttons but is tight on her neck, making her look smart, however Marion is wearing a white shirt with buttons, a few of which are undone, showing she is more laid back and possibly has more of a sex appeal than her friend. This is interesting as it compares the two women in terms of freedom as well, Marion having some buttons undone show she embraces freedom and is not afraid to show off, where as her friend is more closed and follows others accordingly, Hitchcock may have thought carefully about the use of mise-en-scene during this scene, which continues heavily throughout the movie. This is shown further later in the scene when Marion takes the chance to steal the money, if given the choice her friend would possibly not take the money. While talking her friend is also interrupted by George Lowery, the manager walking in with a client. After Mr Cassidy walks in he goes to Marion to talk to her, further emphasising her appeal, this is also a key point in the movie as currently both of them are equal again. However once he shows Marion a picture of his daughter, the camera changes to a high over the shoulder shot on Marion and a Low angle over her shoulder, the balance of power shifts after he comments on his daughter’s life saying “and she never had an unhappy day in anyone of those years…you know what I do with unhappiness? I buy it off”

He lets out the information that he is rich, Marion’s expression when he tells her is intriguing as she looks at him, almost as if she is already thinking about the money. Cassidy asks Marion if she is unhappy, foreboding the further event when she steals the very money he was going to use to buy a house. He waves the money in front of her face, showing it off, her expression does not change at all during this part of the scene. Her friend even watches on in amazement, however if she shows more emotion than Marion, it may mean Marion is trying to hide her interest. The shift in power displayed does not focus on power through strength or psychologically, however the use of money is much more effective as it can relate to the audience who would most likely want that amount of money given to them. When Cassidy finally stands up and appears next to the Lowery, the camera is equal again as money is most likely not an issue for the boss.

The scene fades to Marion at home, she looks in the direction of the camera, after panning out we realise she was looking at the money. Hitchcock uses a pondering style of music in combination with a close up of the money, which pans to her suitcase. This could be a visual way of letting the audience know visually the thought process possibly in Marion’s mind. While she gets ready Marion turns back after looking at herself in the mirror, she turns to look at the money again. The shots used for this is an interesting way of showing power, as when Marion looks at the money the shot used is a high angle, while Marion is at a normal Mid shot. This creates a power comparison between her and an inanimate object, Marion has total dominance over the money, it is all up to her to decide what to do, and whatever she wants happens. However this does not mean she will be safe, although she has power she may not necessarily keep it.

After the scene fades out Marion is now driving, she thinks about what her fiancé may say once she meets him, the scene is quiet with only the use of non-diegetic engine noises filling the scene. However while she ponders her boss and Cassidy walk by, they both nod to each other. On the first nod the camera is balanced between the two, no one has any power, however when the boss notices it is her and she notices it is him, there is a slight low angle on Lowery, giving him power. In what seemed like a carefree drive where Marion may have thought she can escape, she is now tense after being spotted; the choice of clothing from Hitchcock traps her as she is wearing a dark choking shirt, similar to her colleague at work. The ominous music continues to play as she drives away, playing through a faded cut to later on in the day when she is still driving.

Marion falls asleep after driving for a long time, when the shot fades in we see a car drive past a parked car, it then backs up behind, the audience then notices it is a police car when an officer gets out of the car. He wakes up Marion who is sleeping across the two front seats; a high angle of her is present and sticks through this scene. After waking she acts hastily and attempts to drive off, during this shot the camera cuts to close up of the officer, which looks threatening and powerful as his face takes up the whole frame, while also being seen from a lower angle from Marion’s point of view. He wears the regular officer uniform as well as large black aviators which make his face look more menacing and mysterious. During the confrontation there is also no music, this creates a tense atmosphere. Marion is also trapped inside the car, the police officer stands outside and has freedom while Marion is in a tight situation without the Officer knowing it, only possibly suspecting it. When asked for her license, the shot jump to a two shot at medium length, showing the officer is leaning on the car and is relaxed, while Marion is stiff and has a straight back, showing how different the situation is for both of them. When leaving the tense music begins to play once more as she drives away while the police car follows until she turns off the highway.

During the film Marion at multiple times gains power and dominance within a situation, but loses it quickly. Her thought process and the way she acts in situation is always nervous, asking lots of questions and persuading whoever may be questioning her to let her leave, however she is never able to do so. Marion pulls into a town; the music continues to play as Marion notices a police car in front of her. She pulls into a garage, while she looks at the number plates, promptly opening a newspaper to possible check if hers is in the newspaper. The police officer from before pulls in across the road to observe her, however Marion does not notice, this long shot of him shows that even at distance he looks menacing, as the scene is mostly light with his dark clothing, bold aviators and patterned police car contrasting with everything else. When Marion first meets the owner of the garage the camera is equal in the 2 shot, this complements what the salesmen said about treating her fair and square, in which Marion cuts in attempting to assume control, she again cuts in while he is talking further showing desperation. Again however, Marion loses grip and the power balance tips in the males favour once more, the low and high angle return, with power in the salesman’s hands as he questions her. After proving herself and asking to be excused, Marion looks behind her as she walks, showing the imposing dark figure and his car in a long shot, the bold look of him makes him look like he is pressuring her, while the sales is actually pressuring her up close, although he is wearing white colours. When she enters the ladies room we observe Marion as she begins to take out the money, the high angle shot shows how nervous she may be, looking weaker than she was outside as the pressure builds up. After paying for her new car and the police officer pulling in and exiting his car, the salesman and him start to walk after the car slowly as Marion drives away, a shout stops her as she looks back to find a man carrying a suitcase and coat, the amount of men in the shot builds up adding dominant power through numbers rather than the type of shot. All three men stand and watch her drive away with a suspicious look on their faces, even the man who brought her suitcase even though we did not see him earlier.

The sharp tense music begins to play once more as she escapes, she again wonders but this time about what the police officer and salesman may have been talking about, she shows her distress with wide open eyes, biting her lip and opening and closing her grasp on the steering wheel. She also wonders about what her boss and friend may be saying. As the shot jumps between an over the bonnet shot and a medium shot of her, the scene darkens showing time flying by while she worries. However as her mind progresses these thoughts she begins to smile when Cassidy’s voice talks about making her pay for stealing the money. This could show that she may be losing her mind; the light on her face is dim with headlights through the back window, showing that these thoughts are turning dark rather than worrying. This may also show that she is again gaining control, possibly having escaped fully. Once more her confidence is broken down; the weather rains of her parade, with such heavy rain the wind wipers cannot keep up so the windscreen is constantly blurry. As cars drive past, the scenery changes suddenly, the music also takes a deep chime; the ominous darkness is broken through as a motel sign approaches reading “The Bates Motel”.

So far men have imposed great pressure on Marion, making her nervous, act strangely and nearly give away the fact she stole forty thousand dollars, she never had much of an upper hand with each encounter, the only time she did was with the money in her bedroom, which is an inanimate object anyways. She even loses her confidence during heavy rain; however the motel she has just pulled into will create an interesting situation.

Already powerless Marion has no choice but to enter the motel, she observes a figure of a woman walk past a window in the house next to the motel, after honking her horn a man runs down and lets her into the motel. After righting a fake name down using her boyfriend’s last name, the man picks a key, he moves his hand from 3 to 1, possibly signifying and a countdown as foreboding to what will be happening later, also possibly showing how he is planning something in advance. After choosing the key the camera is at a lower angle when facing Marion and higher when facing the man, showing that Marion has power at this present time once more as she is successfully avoiding any nervous contact, staying calm. As he shows her the room, he loses his words when he comes to the bathroom, possibly hinting at a previous event that may have happened that he does not want to mention. The man reveals his name as Norman Bates, when he asks her to have dinner with him; the camera is at equal height with a close up of both their heads. So far Marion has kept her cool and seems to look comfortable, ironic as she is in far more danger than any of her previous encounters without her or the audience knowing it. The same slow though process music from before she started driving returns as she attempts to hide the money. After hiding it in a newspaper she hears Norman and his mother arguing, this vocal dispute between and male and female shows the dominance Norman’s mother has over him, disallowing him to let Marion in to the house.

After he returns with food, Marion suggest eating the food, in a confident matter that she is under control, however Norman tips her in his favour, asking her to dine in the office instead, luring her in. He then suggests the parlour, after they walk in and Bates turns on the light, Marion looks around at the various birds, of which is an owl and raven. These two birds in nature are prey, where the owl usually focuses on small mammals such as rats, mice and rabbits and the raven’s diet consists of a insects, fruits and nuts, these two birds can show the diversity of prey Norman goes after, although the prey is usually if not always small, however this assumption is not completely true, as he kills both a female and a male, showing his dominance on someone less stronger than him, but also being able to hold his own against something big, similar to the owl which can avoid danger and even bring down larger prey through different means. Norman commands Marion to sit down, she follows thinking it is safe. He also talks about stuffing animals for a hobby; he talks about how he thinks birds look good stuff because they are “passive”. Although ironic when compared to what he does later, this could be a signal for his normal self being passive and his alter-ego of his mother being aggressive. During this scene the camera focuses more on both characters, Norman bates however has a slight low angle as at the moment he has the most power as Marion eats, however Marion is not powerless yet, the lack of a high angle shot suggests this. Norman asks about Marion’s life, asking if she has ever had an empty moment in her life, she mentions wanting a “private island” too which Norman asks what she is running away from> Marion becomes nervous as Bates begins to talk about how he thinks everyone’s life is like their own private traps, interestingly enough, nearer the end of this conversation Marion begins to feel for him, at which point the camera changes. Hitchcock chose a low angle shot of Bates from the other side, showing the owl in the background clearly, whereas during all that time she only had small insignificant birds perched in view on the window sill. The significance of the owl being in the shot shows Norman moving in, his power over Marion is slowly growing without her knowing, this is interesting as before the power over her was related to her money, now the power is growing through the use of feelings. After Marion comments on Norman’s mother, suggesting she go to a care home he snaps, when he talks the camera is close up, showing his expressions clearly, this emotion can also be linked later on to when he kills Marion by stabbing her as the alter-ego of his mother, furthermore the bird behind him has a sharp beak, possibly hinting at the sharp encounter also. Further irony is added when Norman says his mother is as harmless as one of the stuffed birds. However it seems that Norman without meaning to have also turned Marion around, not only defeating her confidence wise but also her original plans, she now wants to return to phoenix and correct her mistake. However in this shot there is the Raven in the background with its beak hovering above her shoulder, looking as if it is about to strike, like Bates will.

Norman Bates has his own conflict between genders within himself; he and his alter ego in whom he is his mother are constantly fighting, taking power over one another at times in the movie. He takes the guise of his mother when he kills Marion; however it appears “she” kicks in after Marion leaves, as “she” immediately checks the book for Marion’s name and then spy’s on her, returning to the house to change before killing Marion. In the shower scene Marion seems carefree, she showers with a smile on her face enjoying the water, and however Hitchcock places us in an awkward situation where we are voyeuristically watching her shower, however at one crucial point, when the shadow of the killer Alter ego “Mama Bates” approaches, the camera is still equal, this could represent the equality of a “woman” killing a woman, as if a man killed her she would have been completely helpless, because it is a “woman” there may be a hint at how she could have prevented it, as Norman or Mama Bates seems quite fragile and weak. Marion is reduced to nothingness is a short space of time, reaching for help from the audience, attempting to signal for a non-existent saviour, however it does not help. This is where she is weakest but oddly she is killed by a woman, the audience however only find this out at the end.

Overall the struggle for power between genders is quite clear throughout the film; men always have the upper hand in the end even when a woman seems to be leading. However it was not only physical gender conflicts that were present, the psychological warfare in Normans mind also presents a strong comparison. However we could say that a woman does have the upper hand, even though that “woman” is really a man who has lost his mind, while the real woman sits dead in a chair. Hitchcock uses the conflicts to set a basis for the film and carry out the constant struggle females face within the horror genre, only recently have women started to become the heroes and saviours in the horror and thriller genre, even then they appear weak at certain points aswell.