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viewers see exactly what Norman is seeing.  The viewers also becomes voyeurs. By Hitchcock making us see this perspective,  emotions of  unease, and suspense locks in. Hitchcock is a master at making

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In the film Psycho, the concept of voyeyeism is not as readily used as in Rear Window, primarily due to the lack of availability. In Psycho the character has to premeditatively remove a picture hanging no a wall and press his eye to a small hole to view his target. In juxtaposed to Rear Window where the main character has the view in front of him as he moves around his apartment. It is there, whether he intends to look, or not. In Psycho it is the severity of voyeurism that predominates. In Rear Window it is more just curiosity than voyeurism as opposed to the film Psycho, when is much more malicious in intent. 

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In the movie ‘Psycho’ directed by Alfred Hitchcock, the concept of voyeurism is not shown as much as it is in the movie ‘The Rear Window’. I believe that both movies are both really good and both share a few similarities, such as the way Hitchcock delivers suspense in both movies. An example of voyeurism in the film is when Norman removes the painting from the wall and looks through the little hole to watch Marion change. I believe Marion is one of the voyeurs, because when she was in her room, she kept watching Norman walk through the garden, and so she knew exactly when to walk out to the porch. Norman is the other voyeur because he watched Marion get changed through the little hole without her knowing he was watching her. How the camera position the viewer as a voyeur, was by using the perspective of the character in the film to show us exactly what they see. In conclusion Alfred Hitchcock likes to use the concept of voyeurism in his films, the way he portrays that is through suspense, lighting and music, and it leaves us really intrigued while watching his films.

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When comparing Alfred Hitchcock's Physco to Rear Window, the theme of voyeurism is not as promoted. In Rear Window the entire movie is based off someone watching people out of pure boredom.  As for Physco, there are not as many examples. The most obvious and creepiest scene Is when Norman Bates becomes the voyeur. He purposely has a hole looking into another room hidden behind a framed picture. This scene leads us to know that Norman is purposely looking for something and we know its not out of boredom. As Norman looks through the hole in the wall to watch Marin in the next room, we the viewers see exactly what Norman is seeing.  The viewers also becomes voyeurs. By Hitchcock making us see this perspective,  emotions of  unease, and suspense locks in. Hitchcock is a master at making us also become the creepy voyeurs. Not only do we feel like we become one with the character, we also get to experience things we never had.

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In the film Psycho, directed by Alfred Hitchcock, there are multiple examples of Voyeurism, the most prominent of which being a scene where Norman Bates is watching Marion Crane. The theme of Voyeurism is present throughout the whole film, similar to his other films, but in this film you are able to play both the role of the watcher and the watched. Initially you are watching from the perspective of Marion Crane, which is a purposeful decision by Hitchcock. He allows you to build a connection to Marion, and see things from her perspective. This makes it even more off-putting when she begins to undress, and the camera switches to Norman. It shows Norman watching her through a small hole in the wall, and then shows his view of her through the hole. Through these camera angles the viewer is put into the role of voyeur, but in a very uncomfortable way. Since most of the film so far has been from Marion’s perspective, watching her in such a secretive way creates a sense of fear and discomfort in the viewer because they care about Marion, and up until this point she has been the character they are seeing the story through. This almost makes the viewer feel as though they are the watcher and the watched. This is a new take on Voyeurism which allows the viewer to take a deeper look into both sides, and the feeling of being on both sides of voyeurism.

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In Alfred Hitchcock’s riveting film, Psycho, he convinces the world once again why he is the master of suspense. Harmonising together high pitched string chords, subtle but powerful lighting changes and cleverly curated character development that absorb the viewer in what Hitchcock called “a shocker”. A defining feature of the film is the constant evolution of the characters and plot which culminates in a hair raising turn in the final scenes. This is where the clarity of duality becomes more prevalent than ever. The film concludes with the unmasking of Norman Bates’s dual personality. Hitchcock carefully foreshadowed Bates’s shifting behaviour throughout the film by emphasising heavy shadows on Norman’s face in specific, thus alluding to the two personalities that inhabited his mind. Adding to this duality is the use of black and white photography. It successfully brings to light the binary relationships present in the film. While faces are often clouded by shadows, Hitchcock additionally uses wardrobe to deepen the dance between light and darkness. Suspense is heightened through Hitchcock’s decision to shoot mostly at night, this leaves it up to the viewer to question what lurks in the darkness. On a deeper level it prompts the viewer to question the mystery that awaits us in the shadows and duality inherent in our own minds.

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In Alfred Hitchcock's Psycho, he masterfully uses the lighting and colors to enhance the theme of binary elements. The duality of human nature is expressed through the dual personality that Norman Bates had developed in his years of isolation after performing matricide. His love for his mother, the jealousy of her boyfriend and the guilt of taking her life had driven him to the point of developing a second personality that resembles his mother and perfecting it, thereby completing the illusion. Hitchcock utilizes low light, low angle shots and close up shots at certain angles to perfectly capture the shadows across Norman Bates face. In the scenes where he talks to Mariam, he is portrayed in two distinct ways; as the friendly motel manager who offers her food and the other as the lonely man who is “stuck” taking care of his mother. When he is portrayed as the friendly motel manage, his face were fully framed in the camera and the light was set in a way that his face is completely visible to the viewers, thus leaving a harmless impression on the viewers. But when he started talking about his mother in the parlour scene, his face was mostly concealed or covered with shadows. Those shadows are symbolic as it represents the the dark side or the "mother side" of Normans personality and it hints that there might be something more than what meets the eye. Hitchcock also utilizes the concept of yin and yang to represent the binary theme of the movie. The film was deliberately made in black and white to create a contrasting effect of light and shadows in certain shots and scenes such as the dark silhouette of the “mother” against the light curtains, further building on the idea of human duality and binary oppositions.

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After we watched 2 of Hitchcock’s films, Rear Window and Psycho, I noticed that he uses different framings and angle shots to portray the male perspective. The women appear with pretty faces, white, have nice body shapes and sometimes expose their physical features. In Psycho, Marion, the main character is sometimes shown while she is changing. The camera angles are mostly focusing on the middle section of her body, as we know most males have shown more interest in those parts of the women’s body. I think Alfred Hitchcock uses the male gaze film techniques to fulfill the audience visual pleasure especially the male audience. There’s one scene when Norman Bates (the owner of Bates Motel) is spying on Marion, through a hole from his office to Marion’s room. In that scene, the shot is framed through Norman's POV and give us the experience watching Marion taking off her clothes and getting ready for shower. This also shows us another film technique, known as voyeurism. While watching the Psycho, you aren’t forced to adopt male POV because it depends on what interest you the most, most men interested in the middle section of women’s body, but most women are more interested in the face area, even though the camera is always male.

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In the movie Psycho, Alfred Hitchcock uses clever film techniques to display voyeurism once again. The movie opens with a panning shot of Phoenix, Arizona. This shot slowly moves towards a building, and into a window left slightly open. Inside the room, there are two lovers wearing little clothing in bed. This shot makes the viewer feel uncomfortable when looking into the couple’s private life. These characters are introduced as Marion and Samuel, the protagonists in the film. They are in love and want to get married, but Samuel is in debt. This drives Marion to steal a large amount of money in hopes of starting a new life with her boyfriend.

In her journey out of town, Marion crosses paths with a policeman. He questions her and finds her suspicious. The policeman wears dark sunglasses in this scene. Hitchcock uses the absence of the officer’s eyes to dehumanize the officer, being that eyes play a crucial part in showing emotion. Marion continues her journey and is followed by the policeman. She makes a stop at a car dealership and is watched by him. This portrays him as the voyeur in this scene.

Later in the film, Marion stops at the Bates Motel, an eerie motel on the side of an old highway. She is greeted by Norman Bates, the owner. He invites her into his parlor for dinner. This room is filled with taxidermy birds. Hitchcock uses this strange decor as another example of voyeurism. It is as if the birds are watching Marion and Norman converse. Marion finishes her dinner and heads to her cabin. Norman then looks through a peephole into her room and watches her undress. This shows Norman as the voyeur, this time in a more literal way.

The camera watches Marion as she showers, again showing us as the voyeur. During this scene, we see a silhouette open the door through the shower curtain. Marion is unaware of the figure watching her bathe, allowing the viewer to experience suspense. Hitchcock uses the perfect shots to build up to the horror that follows in this scene. In this film, Alfred Hitchcock  brilliantly displays voyeurism in more ways than one.

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In Alfred Hitchcock’s Psycho, voyeurism is explored, arguably through more than one character. The most significant character that voyeurism is portrayed through is Norman Bates, the Bates Motel owner. You can see his desire for Marion Crane as he becomes noticeably excited when she arrives at his motel. Norman brings some sandwiches down from his mother's house to the motel for Marion and invites her into the parlour room to eat them. The parlour room has stuffed birds all of the walls and on tabletops. These birds, can signify how Norman has a sort of ‘bird’s view’ on Marion in the sense that birds have an all-seeing point of view on their prey. Norman then tells Marion that she ‘eats like a bird”. This further proves that he sees her in a bird’s perspective. They say goodnight to each other and Marion goes to her room. The film then moves to a shot of Norman’s eye, looking through the hole with the light from Marion’s room lighting up his face. Then the camera transitions to Norman’s perspective, as the audience looks at Marion through the peephole undress. This is an obvious invasion of privacy. The viewers witness Norman’s want for Marion, and it is really clear to see his desire for her from behind the wall by his excitement. The next scene is the famous shower scene were Marion gets murdered. The shower scene has the feel of voyeurism even though it isn’t directly apparent. Marion gets in the shower and she is evidently pleased with her plan to go back and return the money. The shower head feels like an eye, and the camera shows some angles that look like they are from the shower head’s perspective. This creates the effect of feeling like there is someone watching. There are many other examples of voyeurism in Hitchcock’s film but these are the most clear ones before the murder of Marion Crane.

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Psycho by Alfred Hitchcock, voyeurism  -Sol.

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Psycho by Alfred Hitchcock, voyeurism  -Sol.

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In the film Psycho, the director Alfred Hitchcock, explores the concept of voyeurism again through more than one character, but the most remarkable voyeur in this film is Norman Bates, the owner of the Bates Motel. He is secretly watching Marion Crane undress in her cabin at the Motel, by looking through a hole in the wall. Hitchcock uses point-of-view shots to implicate the audience in Norman’s spying. Voyeurism in this film is crucial, it creates a feeling of unease and sometimes we might find ourselves feeling guilty. Hitchcock has many more examples of voyeurism throughout this movie and has once again surprised us with his great skills as a director.

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voyeurism in alfred hitchcock's psycho         -morris

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voyeurism in alfred hitchcock's psycho         -morris

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voyeurism is a big aspect in the film psycho, because it gives a sense of secrecy and privacy for the viewer, it is something secret and you are not supposed to see it, this creates suspense and gives the viewer that sense of disturbance. peeping through a hole also gives a feeling of disturbance and that hitchcock suspense, voyeurism is used by hitchcock all the time as seen in the movie rear window. this technique is used to of course create more suspense. the way norman bates is portrayed shows that voyeurism is a part of him as a character, hitchcock uses this to show the audience that norman has bad intentions. hitchcock used a camera as the eye of the audience, the director used this technique to give the audience a feeling of being a character instead of an audience member watching from a distance. a big part of this technique was voyeurism. when the movie was released in 1960 people where extremely upset by the gore and horror that was displayed on the screen. people stormed out of the cinema as norman killed marion crane in that infamous shower scene. hitchcock believed that the world wasnt ready yet for the reality this movie displayed. and he was right. in 1960 this movie was way out of what was acceptable for that time, and now in 2018 this movie is seen by children in the middle of a school. i think this shows how hitchock has pushed the boundries and changed the way we view movies for ever

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The opening scene is already super creepy, the dramatic opening shot on top of Phoenix, and then enters the window. You slowly move inside, where you can see Marion and Sam getting dressed. Not only is it creepy but it can also be viewed as a male gaze. When Marion is at the office, Norman constantly looks at her. Which is what we have been doing as well. In the film Marion is presented as an object, an object of beauty, simplicity and desire, anyone can stare at her and she barely notices it. The part where Norman takes off a painting to look at Marion from the other side, the frame war dark as if it were our eye staring. The camera then goes on a super close up of Normans eye. It is as if Normans eye were my eyes, me and Norman are looking at Marion together. My favorite part was when they did an extreme close up to Marion’s eye when she was dead, I felt like Normans truth has been exposed, Norman is a killer. Marion’s eye was the mirror of Normans eye, Marion’s staring lifeless eye was exposed to Norman’s truth even if he did not even know yet. Psycho clearly stare’s voyeuristically at Marion and also uncovers Norman secrets.

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Log #3

In the film, “Psycho” Alfred Hitchcock portrays voyeurism once again in many different and spooky ways. The film it kicks off with the camera frame panning the town of Phoenix, Arizona. The shot bringing along the viewer then slowly creeps inside a window where we as the viewer and the camera frame are being voyeurs on Marion Crane and Sam Loomis talking in their apartment. This scene connects to the scene of where Norman Bates peeks through a hole as a vignette and sees Marion on the other side. This connects to the other scene because in this one, it makes the viewer get a creepy vibe from Norman sneakily looking at Marion, but if we go back we can relate to this because we as the viewer did this to Marion and Sam. One other scene that gives the viewer an experience of voyeurism is when the shower drain transitions to Marion Crane dead on the bathroom floor. The camera frame slowly moves away from the dead corpse of Marion Crane and fades to the next scene. The drain transitioning to Marion’s eye shows that the drain is like an eye, or like another peep hole looking in on her death. It also shows Marion’s soul going down the drain representing her death. Hitchcock did a great job scaring the audience with his suspense, confusion, and great use of voyeurism.

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In the film Psycho, Alfred Hitchcock portrays a lot of the Male Gaze and Voyeurism into the movie, like when Norman Bates spied on Marion through the whole on the wall when she was taking her clothes off.  The camera focuses more on her midsection, and that is a form of Male Gaze. In the beginning of the movie the camera zoomed into the window of the apartment that the main character and her boyfriend was in, and it makes us the voyeur. It builds that sense of guilt and suspense in the minds of the audience.

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Psycho: Are we really the ones staring behind the shower curtain? Looking at the effects of voyeurism on the viewer - Britt.

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Psycho: Are we really the ones staring behind the shower curtain? Looking at the effects of voyeurism on the viewer - Britt.

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The film Psycho is so focussed on voyeurism that even in the beginning, during the credit roles, there are animated window blinds. The movie only really begins with a panning shot and the camera starts zooming into a house, into a window. The window has the same blinds as the credit scene. The camera creeps in and in a way, we immediately become the voyeurs. Alfred Hitchcock gets the viewers being the voyeurs before we really start watching, immediately setting that feeling of suspense, of guilt. This feeling of voyeurism is extremely important to the whole story, as it gives the audience that extra feeling of suspense and terror. Because the audience views the movie as an "outsider", they can't do anything about the bad situations they see them coming, which gives them a sense of helplessness and guilt of being the voyeur.

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In the film Psycho, the concept of voyeyeism is not as readily used as in Rear Window, primarily due to the lack of availability. In Psycho the character has to premeditatively remove a picture hanging no a wall and press his eye to a small hole to view his target. In juxtaposed to Rear Window where the main character has the view in front of him as he moves around his apartment. It is there, whether he intends to look, or not. In Psycho it is the severity of voyeurism that predominates. In Rear Window it is more just curiosity than voyeurism as opposed to the film Psycho, when is much more malicious in intent.

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In Alfred Hitchcock’s film Psycho, Hitchcock explores the concept of voyeurism masterfully through the use of various film techniques. The film’s opening scene begins with a panning shot high above Phoenix, Arizona, and the camera proceeds to zoom in on a window wherein we see  (at least at for that time) the scantily-clad main character, Marion, and her boyfriend, Sam, presumably after they had just had sex. From the beginning of the film, we are viewing what is very much a private scene. This quickly establishes the role of the viewer as a voyeur and this role is further cemented in the famous “peeping” scene. As Marion undresses to enter the shower, Norman watches her undress through a secret peephole. We are not merely notified of this act, but rather we actually see from his perspective and even the edges of the frame are darkened to simulate the view through the peephole. This is yet another private scene that the audience views, and forces the audience to sympathise with Norman as we see from his perspective. As the violence escalates and the voyeurism presented in the first part of the film takes on a whole new meaning, Psycho firmly establishes itself as a masterpiece of suspense and a great example of what can be achieved through effective film techniques.

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In the film “Psycho” Alfred Hitchcock does a great job of displaying voyeurism once again in many creepy ways. In the movie the character which is most portrayed as a voyeur would be Norman Bates. The movie starts of with a slow panning shot of Phoenix,Arizona showing tall buildings and apartments. The camera then focuses on a small opening of a window and slowly creeps in, until we are inside the apartment were the viewer becomes  a voyeur while watching Marion and Sam kissing and talking about getting married. If you skip farther on the movie Norman Beats gives Marion cabin number “1” so that he can look at her thrown his  hole in the wall. This scene is a great example of how Alfred Hitchcock once again makes the viewer become a voyeur, by giving the viewer the experience of a P.O.V shot of Norman when he looks through the hole in the wall to look at Marion's room. Voyeurism is something that Alfred Hitchcock uses a lot in other films such as rear window, this technique adds a sense of creepiness and suspense to the movie. Once again Hitchcock has done a great job of creating yet another scary movie by his great choice of camera angles and usage of voyeurism.

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In the film Psycho, the director, Alfred Hitchcock is able to masterfully demonstrate voyeurism once again. The film starts off with a panning shot of Phoenix, Arizona as the camera slowly enters a window where we find Marion Crane and Sam Loomis kissing, this scene gives the viewer a sense of voyeurism. Norman Bates is portrayed as a voyeur throughout the movie. In one scene we see Norman looking through a hole in the wall to spy on Marion. Alfred Hitchcock allows the viewer to experience being a voyeur once again by giving us a POV shot of Norman while he looks through the hole in the wall. Hitchcock uses a vignette to emphasize us looking through the wall, as he has done is past films such as Rear Window. The experience of being a voyeur though out this movie adds another layer of suspense and depth. This effect allows the viewer to feel as if you are a character in the film. Alfred Hitchcock once again perfectly demonstrates the experience of being a voyeur through the film Psycho.