Psycho parlour scene analysis

Psycho parlour scene analysis

The detail has less to do with the quantity of milk Marion, in fact, drinks none of it as it does with the pitcher itself. Hitchcock, however, moves out of the comfort zone to shoot Norman from an unnaturally low perspective. This is when the shot quickly switches to the next. This portrays tension towards the audience as it implies a minor conflict that you are not fully aware of. This further supports the fact that Norman is still weighing his options, like a bird of prey stalking it's victim, waiting for the opportune time to strike. The continuous use of mid-shots when presenting either character demonstrates that Norman is farther away from the lamp than Marion which casts a shadow over half of his face. The Parlor is extremely small and hardly fits the existing furniture. Marion however is positioned just to the rear-left of the lamp rendering her face to be well lit and seemingly radiating lustrous warmth. The camera looks up at Norman to accentuate the birds, which are a continuing theme throughout, and create tension in the scene as the audience are left to feel vulnerable as they look up to him. Norman is also immersed in low key lighting. These sides are shown mostly through the lighting. This tells the audience something that will be overhanging for the rest of the feature.

To screen left and behind Norman's right shoulder stands a chest with straight heavy lines, a contrast to the curved shade of the Tiffany. Moreover, the birds present a rather frightening image in the parlor, as they hover around Norman.

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Also when Marion sits down to eat, we get a two-shot of the characters, Marion being the subject in the foreground and Norman watching her in the background. This shot with this music symbolize Norman's own descent into madness and anger, as the music acts as ticking clock — the ticking has to end at some point, and the audience is left guessing what will happen when it does.

We see Marion sitting comfortably in her chair, leaning slightly forward, and enjoying a sandwich Norman has made for her. As he did with the lighting, Hitchcock shapes the scene in terms of contrasts.

Certain conflicts and how the characters deal with them and each other are what shape the structure of the movie.

Psycho lighting analysis

Marion, is located close yet slightly behind the lamp. This has the effect of harsh divide between light and shadow across Norman's face, which re emphasises the the clash of his dual personality. Also when Marion sits down to eat, we get a two-shot of the characters, Marion being the subject in the foreground and Norman watching her in the background. This scene uses a variety of different shots and editing techniques that helps to convey the thrilling nature of the scene and what the scene contains. Norman is also immersed in low-key lighting. Posted by. The different editing techniques used are also important in creating tension throughout the scene. On the walls hang small framed pictures, but these pictures have straight frames, and while Marion is bathed in light, Norman wears dark clothing and, because of the lighting, casts long shadows that strike the walls and ceiling sharply like black blades slicing through the air. In the parlor itself, Hitchcock begins his work. The walls behind her are likewise soft, brightly lit. Leaving Marion in light indicates that redemption and atonement is possible. They help to show different aspects of the characters and setting that hint to the audience what may happen and what is likely to come. Our fun is looking for what lies in front of us. Throughout the scene she takes small bites out of her piece of toast that Norman has provided her and as tension builds up she eats less adding to the effect.

In Norman's parlor, we usually see Marion from the front, so her full face is in view.

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“Psycho” Parlour Scene Analysis