Cutting Edge : Psycho (1960)

 

Fig 1 : Psycho Poster

Alfred Hitchcock’s Psycho (1960), a classic film that changed the horror genre for future generations and created the slasher genre. While people may be aware of the shower scene which caused controversy during it`s time, people forget the toilet flush scene which seemed to cause more uproar than the actual murder. Why? Maybe to create discomfort in the audience before the murder begins, to help the grimness of the murder sink in. Maybe also to make the audience feel discomfort and filthy by watching the scene and following the murder maybe this technique is used to make the audience feel partly as if they are part of the murder.

Continuing with the ingenious of Hitchcock’s use of camera and lighting, the atmosphere is compelling in this film where the audience can feel what the characters in the film are feeling. An example of this is where when Marion is escaping and gets interrogated by the police man. Immediately the audience is faced with this darkened face taking up the entire camera giving a

Fig 2 : Profile

sense of threat and no escape. Especially the added detail of glasses, there is no emotion seen which the policeman seem almost beast like due to the lack of anything shown on his face. Another example of this is when Sam is interrogating Norman. The camera drops to where we can only see Normans throat and Adams apple as his nervousness is shown through his speech. Not only that the only detail we can see if Normans quivering Adams apple emphasising the guilt and fear he feels. The audience doesn’t need to see his face due to the lack of emotion or masked emotion he showed before Marion was murdered.

When it comes to the reveal, although comical with Norman running into the scene and his wig falling off, the idea of multiple personality disorder begins to tie the film together as to why the audience doesn’t ever see the face of the killer nor the audience never sees the mother. When looking over the scene, the use of mental health being used as an excuse for murder makes the views of mental health back then clear. How mental health was seen as something not right in the brain and if you had mental health troubles you were crazy. 

“Hitchcock deliberately wanted "Psycho" to look like a cheap exploitation film. He shot it not with his usual expensive feature crew (which had just finished "North by Northwest") but with the crew he used for his television show.” (Ebert, 1998) While Hitchcock is considered a god with camera, his reasoning behind using  a  restricted set may be to make the film seem more authentic and home recorded  making the events what happen seem all the more real. Also the less people there and low budget make the set seem less perfect and worn down. Especially with the idea of a haunted house the setting isn`t going to be a perfect structure.   

Having such a big influence on the audience, Hitchcock ensures that every detail is set so the audience feels as if they are in the film and makes each scene as believable as possible. “Many viewers still insist that the blood running down the plughole after Marion's murder is

Fig 3 : Blood

bright red, but it is the power of their imaginations that makes the brown chocolate syrup seem so.” (Kermode , 2010) .Despite the clear time difference between then and now, the audience cannot help but feel the same atmosphere as people did back then. Where the audience are teased by technical detail to enhance the atmosphere and strengthen the need to know who the killer is. Just as Hitchcock intends.  “The audience is similarly helpless in Hitchcock's "trap" – but you wouldn't have it any other way.” (Monahan, 2015)

Bibliography : 

Kermode,M(2010) Psycho : the best horror film of all time http://www.theguardian.com/film/2010/oct/22/psycho-horror-hitchcock [Accessed 24/01/16] Monahan,M(2015) Psycho,review : http://www.telegraph.co.uk/culture/film/filmreviews/11025424/Psycho-review.html [Accessed 24/01/16] Ebert , R (1998) Great Movie : Psycho : http://www.rogerebert.com/reviews/great-movie-psycho-1960 [Accessed 24/01/16]

Illustrations :

Fig 1 Psycho_1960 [Poster] https://en.wikipedia.org/wiki/File:Psycho_%281960%29.jpg [Accessed 24/01/16]

Fig 2 Profile [Screengrab] http://www.thedoublenegative.co.uk/2015/03/in-profile-alfred-hitchcocks-psycho-1960/ [Accessed 24/01/16]

Fig 3 Blood [Screengrab] https://niels85.wordpress.com/2013/06/12/the-alfred-hitchcock-marathon-part-5-psycho-1960/ [Accessed 24/01/16]

Cutting Edge : Rope (1948)

Fig 1 : Rope Poster

Without hearing much about this film before watching it, apart from the fact this film was one continuous shot. Alfred Hitchcocks Rope (1948)  may seem slow paced ,however, Hitchcock as he does with most of his films smashes the suspense to make the audience engaged and wanting to watch more with every passing second.

 “The play depended, for its effect, on the fact that it was one continuous series of actions. Once the characters have entered the room, there can’t be any jumps in time, or the suspense will be lost. The audience must know that the body is always right there in the trunk.” (Ebert ,1984)  Although Ebert

Fig 2

says this as if it is a bad thing, the murder was a central part of this film and the positioning of the trunk always being there could be a constant reminder that there is a body in the trunk and while Brandon is always trying to make the situation as sadistically pleasing as possible, if the trunk wasn`t in the shot the audience could only focus on the speech. Whereas if the trunk is there too, the speech could have an extra impact knowing the body is there while he is speaking.

"Did you think you were God, Brandon?" Hitchcock always smirked that in his films the director was God.” (Hutchinson, 2012) With this quote in mind, Hitchcock may have intentionally made a relatable link between him and Brandon in the sense that Brandon feels as if he governs the stage of this murder and he is in command of every little detail and in sense a God as Hitchcock puts it. This could argue the fact that Brandon feels above the role that he is in the film and is on the same level as Hitchcock and those in the play are only around to be disposed of and to be controlled or have fun with.

At the time homosexuality was seen as a sin and those who were homosexual were portrayed as devious and crafting in film and television. This portrayal follows up in this film. Where the murderous pair are a homosexual couple and one, the dominant of the pair is shown to take pleasure in murder and the art and crafts in making the perfect murder. There is hardly any love shown between the pair, which may be because of this murder driving a rift between the pair and Brandon may be overwhelmed with ecstasy. This is hinted at after the pair commit the murder and straight after he takes a cigarette and groans in what seems an almost orgasmic way. As Canby says, “It's another measure of Hitchcock's wiles that, though the film was made back in the days when any suggestion of homosexuality was supposedly taboo, "Rope" is immediately explicit without actually committing any offenses the Production Code people could object to.” (Canby, 1984) The film isn`t explicit, but, with the hinted touches between the pair and the murder this is enough to hint at the sexual feeling without being obvious.

Overall, despite the slow moving pace of Rope the film conveyed a subtle suspense which left the audience wanting to watch more. Although not as well-known nor successful as his later films for an experiment that still engrossed the audience, the experiment was a success which later inspired much more contemporary films to film in a single long shot.

Bibliography:

Ebert,R (1984) Rope at : www.rogerebert.com/reviews/rope-1948 [Accessed 14/01/16]

Canby , V (1984) 'Rope' : A Stunt to Behold at : http://www.nytimes.com/library/film/060384hitch-rope-reflection.html [Accessed 14/01/16]

Hutchinson , P (2012) My Favorite Hitchcock : Rope at : http://www.theguardian.com/film/filmblog/2012/jul/27/my-favourite-hitchcock-rope [Accessed 14/01/16]

Fig 1 Rope 2 (Poster) [Accessed 16/01/16] https://en.wikipedia.org/wiki/Rope_%28film%29#/media/File:Rope2.jpg

Fig 2 : (Screengrab) [Accessed 16/01/16] http://beermovie.net/2015/01/

Cutting Edge : La Jetee (1962)

 

Fig 1 : La Jetee Poster

Watching Chris Marker`s ‘La Jetee’ (1962) for the first time was a complete unique experience, building the foundations of modern sci-fi films with the unusual yet charming slideshow layout. Compared to modern day cinema, it is refreshing to see a film taking a step back away from CG and taking a different route and still successfully create an atmosphere which makes the audience feel emerged yet disturbed. “It highlights why we are attracted to SF in the first place: not for bug-eyed aliens or galaxy-hopping spaceships, but for the way in which the form can twist our most cherished versions of reality inside out.” (Sellars, 2005). Simon Sellars makes a true yet interesting point due to the modern state of the Sci-Fi genre consisting mainly of aliens, the imagination set in distorting reality seemed to have disappeared or is minimally explored. Where parallel universes seem to be the extent of this theme explored, this could be why La Jetee sets itself away from the current genre, because of the artistic exploration.

While the film was quite haunting with the thumping soundtrack playing as the main character sits there lifeless, the audience are quickly confused as to which is reality and what is a dream. With no clear definition until the end, the film is a haunting maze as the audience is forced to watch and listen to the monologue of his torture. Even Schefer quotes: “This experimental subject is trapped—as in a labyrinth—in the drama of memory whose whole experience consists in making something his own (in a certain way he dies within himself, by a reconciliation or a coincidence of time and images).” (Schefer, 1990). The audience is left unsure if the narration is from the man himself as he approaches his death, or a scientist travelling alongside him like a guardian angel until he reaches his demise. It could also be that the one narrating his life could be the scientist that killed him in his final moments. The only clear piece of the timeline is that the man he saw die as a child was himself, and his timeline was a loop that always ended in his demise despite his belief that he could escape death.

Despite the images being black and white, the use of high contrast in the laboratory gave a sense of danger and intensity, which along with the simple thumping soundtrack pumped up the scene so the audience could engage with the scene more. The clever use of where the contrast

Fig 2 : Mask

hits the photographs is cleverly done, especially with the experiment where his skin is a pale grey, representing a neutral party and the crisp white mask almost wiping away his identity. His identity may be wiped since eyes are usually represented as the doors to the soul, containing all personality and individuality, which could be why they mask his eyes, so, that extinguishes any form of individuality.
Continuing on with the use of contrast, the midtones may indicate an area of peace or neutral party. Evidence of this is during the dream sequences, the colours seem to be died down with less of a contrast in the environment and characters whereas when it comes to reality where the subject is in the laboratory, the contrast showing intense shadows on the scientists face give a frightening look to them, making their faces look like skulls with piercing black eyes. With no

Fig 3 : Laboratory

evidence of the environment around them seeing their faces stare into the camera is frightening enough to set the atmosphere.

Overall, watching this film was an eye opening experience to the history of film and how it influenced modern day film and video installation art. Although overlooked due to its unique style, it is clear to see how La Jetee was the building blocks to modern day blockbusters and masterpieces. As a closing quote, Zoe Pilger says: “Video installation art is now all the rage, but Marker elevates the form. In so doing, he highlights how much rubbish is produced today.” (Pilger, 2014).

Bibliography : 

 Illustrations : 

Fig 1 : La Jetee Poster (1962) [Poster] : https://upload.wikimedia.org/wikipedia/en/f/f7/La_Jetee_Poster.jpg

Fig 2 : La Jetee Film Still (1962) [Screengrab] : https://s3.amazonaws.com/criterion-production/stills/3638-17f9fe315ecf2a7fea2c96036271f6ba/P_original.jpg

Fig 3 : (1962) [Screengrab] : https://i.ytimg.com/vi/1JFQjmMU0wA/maxresdefault.jpg 

Resources :

Schefer , J (1990) On La Jetee http://chrismarker.org/chris-marker-2/jean-louis-schefer-on-la-jete/ Accessed 07/01/16

Sellars , S (2005) Retrospecto : La Jetee http://www.ballardian.com/la-jetee Accessed 07/01/16

Pilger , Z (2014) Chris Marker : Mystic film-maker with a Midas touch :http://www.independent.co.uk/arts-entertainment/films/features/chris-marker-mystic-film-maker-with-a-midas-touch-9273471.html Accessed : 07/01/16