Mise En scene
Credits come in a stabbing motion, possibly symbolizing what is to come
closed- shows the secrecy of the relationship, relationship in the dark, not clear where they stand
Shows clearly location on a road sign- Phoenix, Arizona
In office Window is half open, can’t see clearly into room, Hitchcock likes to hide as much as he can from the audience.
policeman is talking to Marianne in office he is stood and she is sat and backed away, he seems like the dominant one
Marianne has the money she is stood and the policeman is sitting down shift of power once she has money
gas station the light is on the man while Marianne is in the darkness
As Marianne is driving in the dark she starts to look calm, and as this happens it starts to rain, taking away her power.
Man at hotel reaches for room 3, then room 2, then room 1, almost like a countdown to what is going to happen
In the room that the man takes Marianne to, in the mirrors you can only ever see Marianne in the mirrors, almost like he has the power and he is mysterious.
When talking about the birds he loves, he states ‘ Passive to begin with…’ which links to him as he seems very calm and timid to begin with
Man is out next to a dim candle while she is put next a bright lamp, contrast of light and dark, connotations to evil and good
Wings of bird above mans head, predator about to pounce on prey
The man seems insulted when she mentions mad house
Nude paintings in background, showing what he likes
Marianne signed Samuels in book but told her name was Crane to man, slipped up on her story.
Moves same nude painting to see Marianne
In the murder of Marianne scene the shower curtain is torn down, all privacy gone
Intruding on her while having her shower, at her most vulnerable
Shadow from person in background moving slowly, increases tension
When curtain swings open, murderer is in shadow, can’t tell who it is
panic in murderer, seems calm, possibly done it before
Newspaper shown by itself- significance of car- contemporary coffin
raining- her tension is now over
In shop Lila + Sam are lit up, shows they have replaced Marianne as the people the audience are supposed to side with
gone from situation- power struggle between Norman and Detective
A lights light up Norman quickly then go off, like the suspicion is there, but with no fact behind it
Detective sees same owl as was above Norman earlier, shows same fate is coming as Marianne
Doorframe- power struggle between Sam and Norman
Man explaining things is fully lit up- things are now full clear
Camera Angles/ Shots
Two shot of Sam and Marianne- intimacy
Zooms into the hotel window, not from Sam or Marianne’s POV, from an outsider, watching them.
When Sam leaves the flat it zooms straight into Marianne, showing the significance will be on her
Two shot in office of policeman and Marianne, Marianne lower than policeman, when money swaps, she stands and he sits, change of power
Pan across an aerial shot of wide open town , cityscape, sunlight, things still under control
When policeman is questioning her in car, starts on a close mid shot, moves to close up, then extreme close up, pressure is rising on Marianne
Two-shot Marianne in foreground and Policeman in background, watching her, pressure on her.
At garage, over shoulder shot of man, flags and an open sky behind him, showing how he is free, while Marianne has only darkness and barriers behind her, showing how she is trapped and her fate is decided.
All three men at garage watch Marianne drive off, she seems vulnerable while they all seem confident with a low angle shot of them.
When in hotel Voyeurism, put into POV of Norman, makes us feel uncomfortable, dark ring around screen, his perspective
Moved to a shot following Norman around his house, putting suspicion on him, what will he do next, now the audience know what he is like
Camera moves very slowly from her to shadow, moving focus and increasing tension
Soon as she sees him moves from close up to extreme close up of her screaming, signifying her terror.
Back view of him dragging her, awkward, left as witnesses, just him, no one to relate to, awkward.
Extreme close up of detective- suspicion
Birds eye view of killing detective, not as important as Marianne’s death, he just got in the way
Same birds eye shot when carrying mother. Mother linked to this birds eye shot, have not seen her face yet
Sound
Music very jolty, tense, slows as credits end. Non-diegetic sound harsh, high pitched, mirrors the stabbing motion
Sam opening blind- sharp dramatic diegetic sound
The second she starts driving the tense music starts up again
The music seems to link to her being in the car when she is left to her own thoughts and paranoid- links to when she put into boot of car later on
The noise of rain as she gets out of car- overpowering loud
Laughed at death of father- shows he does not take death seriously
Non- diegetic sound starts when she mentions old peoples home, he seems very insulted by this and the word ‘mad’
‘We all go a little mad sometime’ significant line
Music becomes faster, follows mans emotions, puts us as equals to him, uncomfortable for audience.
Non-diegetic + diegetic mix, sound of stabbing + music which mirrors the stabbing motion.
High pitched orchestra music, sounds sad, low notes mixed in, bad things happened
Noise from shower still gong on after she is killed, mirrors the sound of rain earlier on, shows that she was taken completely off guard.
Norman says ‘ Wouldn’t foul my mother’, she sounds powerful
Same jolty music just before the killer walks onto the top of the stage, audience knows what is coming.
When hits Sam, not the same music, out of panic, not under the pre-tense of ‘mother’
Editing
Fading from one scene to the next at start- things seem calm and normal
Shot reverse shot- cutting between characters both on their own, cuts are short, tense
Jump cut- from her driving in day- cuts to scenery- back to her driving at night, shows how time has moved on
Cuts to policeman leaning on car, jolts does not fade, like she is panicking
Shows ‘Bates Motel-Vacancy’ very quickly as she glances then stays on it for a while, almost showing that it is her only option.
The camera fades into her moving at the motel- false sense of calm, confronts with the music- able to tell that the calm won’t last
When moved into office instead of fading, starts switching from one him, her, the birds, the light and the dark, showing the significance of each thing.
Fast fades but starts jolting from one to another when she mentions mad
Jolts from all different shots while being stabbed, increasing tension and to show the adrenalin and panic mixed with the fast paced music.
The blood running into the drain fades into her eye, reminds us of the previous voyeurism.
