Analyzing the Cinematography and Editing in Either Psycho or the French

Psycho is a 1960 horror-thriller film directed by Alfred Hitchcock that follows the demise of Marion Crane, played by Janet Leigh, at the hands of Norman Bates, played by Anthony Perkins, after she embezzles $40,000 and attempts to leave her former life behind (Psycho). Through the unique use of editing techniques and ominous cinematography, Hitchcock is able to create a film that is visually alluring and draws its audience into the intrigue and mystery that surrounds the Bates Motel.

The film opens with a very intimate scene in which Marion and her boyfriend, Samuel, are discussing their future plans. In this scene, intimacy is created by focusing on the couple and maintaining a tight frame shot on them as they kiss. Additionally, low angle shots help to establish the essence of the relationship between Marion and Samuel and seemingly implies that their relationship is not acceptable. The low angles create a sense of disapproval, which will later become evident in the film as Hitchcock shows that the relationship between the two is doomed, especially since Marion embezzles money from her employer and leaves everything behind.

Tension within the film can be seen in the scene where Marion is approached by a policeman after she has pulled over to the side of the road to take a nap. Hitchcock uses close up shots of both Marion and the officer. These close up shots are taken from different angles; the policeman is shown to be looking down on Marion through low angle shots. These low angle shots create a sense of dominance, whereas Marion is shown to be looking up at the officer through high angle shots, which create a sense of submission. By focusing on only the characters (through close up shots) and not the surrounding environment, Hitchcock is able to play on the psychological aspects of guilt and persecution.

Hitchcock's use of lighting and camera angles makes a major impact on the scene in which Marion and Norman interact in the motel's parlor. The harsh lighting that is focused on the stuffed birds, specifically the black bird and the owl, create an ominous atmosphere. The camera is also angled upwards on these birds as though to make it appear as though they are looking down on Marion as though she was their prey. Like the birds, Norman also appears to be looking down on Marion as the camera is angled slightly upwards when focused on him; this angle makes Norman appear as though he were a bird of prey perched and ready to attack. Subsequently, the camera is angled slightly downwards on Marion as Norman converses with her, again asserting a feeling of dominance.

The film's most infamous scene brings forth Marion's demise as Norman -- dressed as his deceased mother -- stabs his guest to death. This scene is composed of "78 separate pieces of film in 45 seconds" (IMDB). In this sequence, Hitchcock uses a combination of shots to heighten the tension and the suspense that has been culminating throughout the course of the film. Hitchcock's use of close up shots on Marion helps to focus the viewer's attention on the victim. Beginning with a medium shot, Hitchcock creates a seemingly innocent environment as Marion proceeds to take a shower. However, hidden behind an opaque shower curtain lurks Norman ready to attack -- after all, he has been keeping a watchful eye on his victim through a peephole in the wall. Hitchcock focuses the action in the scene through a series of close up shots that focus on the different aspects of the murder, from the initial stabbing to Marion's final grasp at the shower curtain before she succumbs to her wounds. As the close up shots progressively get closer, an extreme close-up on Marion's mouth as she lets out a piercing scream draws the viewers attention to the scream, visually, as opposed to the action that is taking place. Additionally, an extreme close up on Marion's eye, after she has died, with the camera pulling back and rotating creates a dizzying effect, which contributes to the surreal and unexpected nature of the homicide.