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Psycho Symbol

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Notify me of new posts via email. Bibliography Hitchcock, A. Share this: Twitter Facebook. Like this: Like Loading Fill in your details below or click an icon to log in:.

Email required Address never made public. Name required. Analysis Reviews Self Stuff. There was nothing terrifying about that image in their mind, either.

For them, butterflies represented light, change, and hope. The history of the psychology symbol took on that term, psyche. Psyche was also a goddess, a beautiful being with butterfly wings.

She was so delicate, attractive, and full of joy that Aphrodite herself became jealous, seeing this young woman as a rival.

She wanted young Psyche to fall for the most terrible, ugly, and heartless man in all of Anatolia. But nothing went according to plan.

Instead, it was her son, Eros, who fell for Psyche. Unable to stop himself, the young god decided to go to her room every night to win her over and make her his.

And so it was. Psyche fell head over heels for a stranger who visited her each night in the dark. The stranger was a god who wanted to keep his identity a secret.

But something went wrong. While Eros was sleeping in her bed, she brought a lamp close to his face. JavaScript seems to be disabled in your browser.

For the best experience on our site, be sure to turn on Javascript in your browser. Here it is, folks. The single creepiest building in the world.

Move aside, cabin from Cabin in the Woods. Go away, AHS: Hotel. Nothing is more chill-inducing than the Bates residence. Norman's brooding home, with his mother sitting in the window, is one of the more striking images, not only of Psycho , but of all horror movies ever.

Against the modern America of functional apartment buildings, cars, and highways, the Bates house is a gothic throwback—an ominous reminder of tales of a terrifying past.

Philosopher and Hitchcock fan Slavoj Zizek has argued that the house is a symbol of Norman's psychology. That leaning gothic mansion is Norman's skull, in which his dead mother sits and rocks and issues stern commands.

Zizek went further—because going further is kind of Zizek's deal—and argued that the three levels of the house correspond to the three Freudian aspects of the psyche.

The top floor, where Mama Bates hangs out for most of the movie, is the superego. Bates and the third floor act as the conscience, issuing commands and judges:.

By candlelight, I suppose, in the cheap, erotic fashion of young men with cheap, erotic minds! That's what the superego does; it tells you you're bad, your sexual thoughts are bad, and that you should be ashamed of yourself.

No one likes the superego. The ground floor of Chez Bates is the Ego, the everyday self—where Norman is Norman, the everyday dude.

And then, in the fruit cellar, is the Id— the home of instinctual, icky desires. Zizek goes on to explain that when Norman carries his Mama down from her room into the fruit cellar, that she stops being a force of the Superego removed, set up with rules and begins to be a force of the Id part of Norman's instinctual self.

Maybe, in fact, this is why Norman gets caught after bringing his mom to the fruit cellar? Once she leaves her place of Superego-like authority, she can't hide what "she's" been doing quite so well.

Well, probably not precisely. But Psycho is certainly fascinated with the idea of multiple personalities. And Hitchcock even throws in a psychiatrist at the end to explain everything, through elaborate psychoanalytic explanations.

Hitchcock practically throws open those house doors to analysts. Norman dressed as his mother, Mrs. Bates kills women with some frequency in his hotel.

Which brings up the question: if you're killing people all the time, wouldn't you invest in a better killing tool than a knife?

Stabbing someone to death is a messy business and an uncertain one, as Norman finds at the end when Sam disarms him. Of course, Norman isn't exactly in his right mind or anyone else's , so you can't expect him to make the best choices.

Still, symbolically it's pretty clear why he sticks with the knife. It's because of… sex. A knife, thrusting in and out of a vulnerable body, is a phallic symbol, bloodily and horribly miming sex.

The psychiatrist at the end of the film says that Norman is aroused by Marion, and that his mother personality becomes jealous and kills her.

But you could also see the murder as a completion, or extension of Norman's desire. He looks through the peephole and sees Marion naked…and then he comes into her room and penetrates her, over and over.

You're watching a suspense thriller after all; you're waiting for the gory bits. The knifing is thrilling, satisfying, and stimulating.

By linking the murder to sex, Hitchcock is suggesting that he—and you watching—get enjoyment from watching murder onscreen.

And here's the sick thing: we do. Box office returns don't lie. We're addicted to watching gore… in part because we find it totally enjoyable.

Humans are weird. The dramatic opening shot of the film starts high over Phoenix, and then swoops down to a window.

You then move inside, where you see Marion half-undressed after sex with her boyfriend. Sure, it's a movie.

But it's also totally creepy… and totally entrenched in what is known as the male gaze. When Norman looks at Marion, therefore, he's only doing what you have already done.

Marion, first thing in the film, is presented as an illicit object of desire; someone you stare at lustfully without her knowing. It's you or Hitchcock who are in the first place guilty of looking through that peephole and wanting Marion.

You are guilty, and so, to wipe out that guilt, and to deliver the suspense shocks, Marion must… die. Yikes, huh? After Norman and Marion have dinner, Marion goes back to her cabin, and Norman removes a picture from the wall of the office.

Behind the picture is a peephole. Norman looks through it, and you see a shot framed in darkness as if seen through the hole of Marion undressing.

The camera then cuts to an extreme close-up of Norman's eye, staring intently at the illuminated, ragged hole. Norman's eye here is also your eye.

He's looking excitedly at Marion undressing, just as you're looking excitedly or otherwise at Janet Leigh undressing. Norman and you are watching together, which means you are put in Norman's place, desiring Marion.

One of the most famous juxtapositions of the film is a shot of blood swirling down the drain in Marion's room, followed by an extreme close up of Marion's staring eye.

This look at Marion's eye mirrors the look at Norman's eye. Marion can't really see once she's dead, of course.

But if she could see, she'd discover a real secret: Norman's a murderer. Marion's dead eye looks on Norman's secret. The film's gazes voyeuristically at Marion.

But it also examines, stares at, and uncovers the secrets of Norman. They'll see and they'll know, and they'll say, "Why, she wouldn't even harm a fly..

Norman's thinking that the authorities are watching him. But the person watching is you , the movie-goer. You look through the peephole and see Norman's secrets, sexual and otherwise.

You know Norman's mom would hurt a fly. You are the all-knowing voyeur, with a bigger peephole than Norman could ever dream of. We're sure there are a lot of lovely taxidermists out there.

But sorry, taxidermy fans: your hobby has joined the list of Creepy Pastimes. Thanks in part to Psycho , we'd probably be more likely to let a professional gulp clown dogsit our precious Freckles than let a taxidermist anywhere near her leash.

He's referring most directly to the stuffed birds in his office. But unbeknownst to Marion, the most impressive example of Norman's taxidermy skillz is his mother's corpse, which is sitting in the window of his house.

But wait: Norman is his mother, or at least he thinks he's her. When his mother's voice thinks to herself at the end sitting in the police station that she can't do anything but "sit and stare, like one of his stuffed birds" — that's not really his mother speaking.

That's Norman comparing himself to his stuffed birds. And what he's been stuffed with, and what is filling him up, is his mother… who now "lives" inside him.

There are other references to birds, too. Norman tells Marion when they have dinner together that she eats like a bird.

Anthony Perkins' performance as Norman is also pretty birdlike; he moves in nervous jumps, and extends his head. So there you have it: Norman himself, Norman's mother, and Marion are all compared to birds.

That's appropriate for a film about fractured identity, and about the way the dead go on living stuffed into someone else's skull.

Psycho [Motion Picture]. Olderr, S. Symbolism: a comprehensive dictionary 2nd Edition ed. Oxford English Dictionary.

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Share this: Twitter Facebook. While the film did not conclude satisfactorily for the critic, he commended the cast's performances as "fair".

Lejeune was so offended that she not only walked out before the end but permanently resigned her post as film critic for The Observer.

Positive reviews stated, "Anthony Perkins' performance is the best of his career Janet Leigh has never been better", "played out beautifully", and "first American movie since Touch of Evil to stand in the same creative rank as the great European films.

The public loved the film, with lines stretching outside of theaters as people had to wait for the next showing. This, along with box office numbers, led to a reconsideration of the film by critics, and it eventually received a large amount of praise.

In the United Kingdom, the film shattered attendance records at the London Plaza Cinema , but nearly all British critics gave it poor reviews, questioning Hitchcock's taste and judgment.

Reasons cited for this were the critics' late screenings, forcing them to rush their reviews, their dislike of the gimmicky promotion, and Hitchcock's expatriate status.

TIME switched its opinion from "Hitchcock bears down too heavily in this one" to "superlative" and "masterly", and Bosley Crowther put it on his Top Ten list of The Catholic Legion of Decency gave the film a B rating, meaning "morally objectionable in part".

Psycho was criticized for making other filmmakers more willing to show gore; three years later, Blood Feast , considered to be the first " splatter film ", was released.

Inspired by Psycho , Hammer Film Productions launched a series of mystery thrillers including The Nanny [] starring Bette Davis and William Castle 's Homicidal was followed by a slew of more than thirteen other splatter films.

The site's critical consensus states, "Infamous for its shower scene, but immortal for its contribution to the horror genre.

Because Psycho was filmed with tact, grace, and art, Hitchcock didn't just create modern horror, he validated it. In Psycho , Hitchcock subverts the romantic elements that are seen in most of his work.

The film is instead ironic as it presents "clarity and fulfillment" of romance. The past is central to the film; the main characters "struggle to understand and resolve destructive personal histories" and ultimately fail.

The myth does not sustain with Marion, who dies hopelessly in her room at the Bates Motel. The room is wallpapered with floral print like Persephone's flowers, but they are only "reflected in mirrors, as images of images—twice removed from reality".

In the scene of Marion's death, Brill describes the transition from the bathroom drain to Marion's lifeless eye, "Like the eye of the amorphous sea creature at the end of Fellini's La Dolce Vita , it marks the birth of death, an emblem of final hopelessness and corruption.

Marion is deprived of "the humble treasures of love, marriage, home and family", which Hitchcock considers elements of human happiness.

There exists among Psycho ' s secondary characters a lack of "familial warmth and stability", which demonstrates the unlikelihood of domestic fantasies.

The film contains ironic jokes about domesticity, such as when Sam writes a letter to Marion, agreeing to marry her, only after the audience sees her buried in the swamp.

Sam and Marion's sister Lila, in investigating Marion's disappearance, develop an "increasingly connubial" relationship, a development that Marion is denied.

He has "an infantile and divided personality" and lives in a mansion whose past occupies the present. Norman displays stuffed birds that are "frozen in time" and keeps childhood toys and stuffed animals in his room.

He is hostile toward suggestions to move from the past, such as with Marion's suggestion to put his mother "someplace" and as a result kills Marion to preserve his past.

Brill explains, " 'Someplace' for Norman is where his delusions of love, home, and family are declared invalid and exposed.

Light and darkness feature prominently in Psycho. The first shot after the intertitle is the sunny landscape of Phoenix before the camera enters a dark hotel room where Sam and Marion appear as bright figures.

Marion is almost immediately cast in darkness; she is preceded by her shadow as she reenters the office to steal money and as she enters her bedroom.

When she flees Phoenix, darkness descends on her drive. The following sunny morning is punctured by a watchful police officer with black sunglasses, and she finally arrives at the Bates Motel in near darkness.

Examples of brightness include the opening window shades in Sam's and Marion's hotel room, vehicle headlights at night, the neon sign at the Bates Motel, "the glaring white" of the bathroom tiles where Marion dies, and the fruit cellar's exposed light bulb shining on the corpse of Norman's mother.

Such bright lights typically characterize danger and violence in Hitchcock's films. The film often features shadows, mirrors, windows, and, less so, water.

The shadows are present from the first scene where the blinds make bars on Marion and Sam as they peer out of the window.

The stuffed birds' shadows loom over Marion as she eats, and Norman's mother is seen in only shadows until the end. More subtly, backlighting turns the rakes in the hardware store into talons above Lila's head.

Mirrors reflect Marion as she packs, her eyes as she checks the rear-view mirror, her face in the policeman's sunglasses, and her hands as she counts out the money in the car dealership's bathroom.

A motel window serves as a mirror by reflecting Marion and Norman together. Hitchcock shoots through Marion's windshield and the telephone booth, when Arbogast phones Sam and Lila.

The heavy downpour can be seen as a foreshadowing of the shower, and its cessation can be seen as a symbol of Marion making up her mind to return to Phoenix.

There are a number of references to birds. Marion's last name is Crane and she is from Phoenix. Norman comments that Marion eats like a bird.

The motel room has pictures of birds on the wall. Brigitte Peucker also suggests that Norman's hobby of stuffing birds literalizes the British slang expression for sex, "stuffing birds", bird being British slang for a desirable woman.

Psycho has been called "the first psychoanalytical thriller. In , the film was deemed "culturally, historically, or aesthetically significant" by the United States Library of Congress and was selected for preservation in the National Film Registry.

Leigh asserted, "no other murder mystery in the history of the movies has inspired such merchandising. In , it was adapted scene-for-scene into three comic books by the Innovative Corporation.

Psycho has appeared on a number of lists by websites, television channels, and magazines. The shower scene was featured as number four on the list of Bravo Network's Scariest Movie Moments, [] whilst the finale was ranked number four on Premiere ' s similar list.

In , the Motion Picture Editors Guild listed the film as the twelfth best-edited film of all time based on a survey of its membership. American Film Institute has included Psycho in these lists:.

Psycho has become one of the most recognizable films in cinema history, and is arguably Hitchcock's best known film. This played on his reader's expectations of traditional plots, leaving them uncertain and anxious.

Hitchcock recognized the effect this approach could have on audiences, and utilized it in his adaptation, killing off Leigh's character at the end of the first act.

This daring plot device, coupled with the fact that the character was played by the biggest box-office name in the film, was a shocking turn of events in The shower scene has become a pop culture touchstone and is often regarded as one of the most terrifying scenes ever filmed.

Its effectiveness is often credited to the use of startling editing techniques borrowed from the Soviet montage filmmakers, [] [] and to the iconic screeching violins in Bernard Herrmann 's musical score.

The scene has been frequently spoofed and referenced in popular culture, complete with the violin screeching sound effects see Charlie and the Chocolate Factory , among many others.

Psycho is considered by some to be the first film in the slasher film genre, [] though some critics and film historians point to Michael Powell's Peeping Tom , a lesser-known film with similar themes of voyeurism and sexualized violence, whose release happened to precede Psycho ' s by a few months.

Psycho has been referenced in other films numerous times: examples include the musical horror film Phantom of the Paradise ; horror film Halloween which starred Jamie Lee Curtis , Janet Leigh's daughter, and Donald Pleasence 's character was named " Sam Loomis " ; [] the Mel Brooks tribute to many of Hitchcock's thrillers, High Anxiety ; the Fade to Black ; the Dressed to Kill ; and Wes Craven 's horror satire Scream.

The success of the film jump-started Perkins' career, but he soon began to suffer from typecasting.

One letter was so "grotesque" that she passed it to the FBI. Two agents visited Leigh and told her the culprits had been located and that she should notify the FBI if she received any more letters of that type.

Anthony Perkins returned to his role of Norman Bates in all three sequels, and also directed the third film. Psycho has been rated and re-rated several times over the years by the MPAA.

Later, when the MPAA switched to a voluntary letter ratings system in , Psycho was one of a number of high-profile motion pictures to be retro-rated with an "M" Mature Audiences.

This THX-certified Widescreen 1. A version with alternate footage of Norman cleaning up after the murder and additional footage of Marion undressing and Arbogast's death has been shown on German TV and released on VHS and Blu-ray in Germany.

For the initial DVD release, Laurent Bouzereau produced a documentary looking at the film's production and reception.

Universal released a 50th anniversary edition on Blu-ray in the United Kingdom on August 9, , [] with Australia making the same edition with a different cover available on September 1, From Wikipedia, the free encyclopedia.

This article is about the film. For the remake, see Psycho film. For the sequels, see Psycho franchise. Play media. See also: Psycho franchise.

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Harmony Press, , p. Reproduced at". Retrieved January 26, July Archived from the original on December 5, Retrieved March 13, CBS News.

Archived from the original on June 16, Retrieved April 24, September Hitchcock, Welles". Bright Lights Film Journal.

Archived from the original on July 13, The Atlantic Monthly , May ". May Retrieved August 5, The Guardian. February 6, — via www. January The Film Music Pantheon 3.

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Dread Central. Robert Bloch 's Psycho. Bates Motel — Book Category. Alfred Hitchcock. Filmography Unproduced projects Themes and plot devices Cameos Awards and honors.

Blackmail Juno and the Paycock Murder! Rebecca Foreign Correspondent Mr. Alma Reville wife Pat Hitchcock daughter. Robert Bloch. Psycho Psycho Bates Motel — Robert Bloch's Psychos.

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Psycho Symbol

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