ANALYSIS OF CAMERA WORK IN PSYCHO (1960)

Alfred Hitchcock's classic thriller Psycho (1960) is the film that brought light to the iconic shower scene which had emulated many emotions in accordance to horror and fear. These two emotions are rather vital to the thriller genre and would prove rather useful and could very well provide considerations for me and my group's production. Therefore I have made an in-depth analysis of how the camera techniques had supported the momentous shower scene that had defined the thriller genre itself. This is because I believe it is about time we as a group should take into account the significance of camera work and how it can convey the horror and fear we need for our opening sequence.

http://www.youtube.com/watch?v=8VP5jEAP3K4
(The video i had referred to has disabled it's embedded code. Link is provided above)

In this extract of ‘Psycho’ we see a compilation of camera techniques. It exhibits numerous amounts of camera movements and transitions within its narrative. These techniques are to contribute with the rise of tension gradually meeting the crux of the scene and give a thrilling experience to the audience. Not only does it allow the audience to indulge in the tension being outputted from the scene, but it also relays the emotion from the characters onto us, among other things.

The extract begins with a character writing and then evaluating a sheet of paper which then she rips the piece of paper, starting the scene rather ominously as it suggests that the character wants to conceal it from everyone. A mid-shot is applied introducing the scene with Marion and showing the intensity of her body language as well as her facial expression. In this shot we see she is resting her head on her hand before she rips the paper into shreds. This implies to the audience that she is tired and worn out contributing to the narrative a further element of mystery as we are not quite sure as to why she feels this way. Once she rips the paper, she pauses as if pondering a thought as she then glances to the bathroom. From here the camera pans from one composition to another.

We delve into Marion’s profile further as a mid/long-shot is applied when she leaves her seat, casually walking into the bathroom whilst holding the sheet of paper. This shot provides an insight in the relationship between Marion and her setting. The sense of security and lack of urgency in her posture and the way she walks suggests that there is a degree of comfort. The sense of comfort is ensured further as with this frame it becomes clear what she is wearing - a bath robe. However, the ominous feeling is once again met as the lights are off, supplementing a sense of concealment and solitude. The frame also shows that the only light emanating within the scene is from the bathroom, the room Marion is walking to, possibly suggesting a false sense of a hope as light carries connotations of salvation and hope. Inducing a juxtapostion with the climax of the scene.

The composition then cuts into a close-up shot of the toilet when Marion throws the ripped pieces of paper into it and flushes. The close-up shot imposes significance in the toilet, raising the question as to why she took that many precautions to hide whatever she wrote in the sheet of paper, implementing a further sense of unnerving mystery to the narrative. Prior to the close-up of the toilet, there were two abrupt cuts to from Marion walking to the bathroom into a clear shot of her being in the bathroom and then to the toilet as she throws the ripped pieces of paper into. This raises the pace of the scene giving a rise to the tension outputted by the composition.

An angle of sexual imagery is portrayed in the next frame as the camera cuts into a low-angle shot as Marion removes her bath robe and places it on top of the toilet. Aside from the sexual imagery being presented, we see that the toilet subtly induces another sense of concealment as Marion covers it with her bath robe. A crab shot, still sustaining a low-angle shot, is then used to track Marion as she moves into the shower then closing the blinds. An appliance of vulnerability is given as Marion is now naked, which foreshadows her sudden death in the scene. This is to impose empathy to the audience as throughout the scene so far the camera had focused intently on Marion, following every one of her movements, slowly constructing a sense fear and horror. This serves as a deeper impact onto the audience when she dies at the climax of this scene.

This particular part of the extract bears a series of camera techniques to give rise to the fear and horror in which the climax indulges in. Marion is introduced into the shower with a medium/close-up to establish that she is naked whereas also not revealing too much. This accentuates her sexual appeal, proposing sympathy for Marion, supplementing a more striking impact for the audience when she is brutally murdered. The mid/close-up also establishes the facial expression on Marion. As opposed to the beginning of the scene, Marion seems to be happy and frivolous suggesting that she is free from her bearings and troubles, decreasing the level of fear and horror. This, however, may increase the level of tension as Marion seems to be in a very vulnerable position and possibly signalling a turn of events as there was a continuous unnerving theme given by the varied pace of camera movements. Jump cuts are applied here as Marion showers and a shot/reserve shot is also applied between Marion and the shower cap to show that what she is focusing on. The fast pace of this composition deviates the audience’s attention and subtly constructs a sense of horror and fear.