how does hitchcock use cinematography to manipulate the emotions of his audience

Alfred Joseph Hitchcock, born August 13, 1899 in Leytonstone, England, was a film technician who deftly blended sex, suspense and humour, and who justly became known as "The Master of Suspense". His brilliance in film-making was envied as well as loved and his influence continues to be felt over many a filmmaker. He used intelligent plots and captivating and memorable scenes to enable his movies, still, to surprise and enchant silver screen lovers worldwide; and in doing so, inspired a new generation of film-making - revolutionising the thriller genre. Hitchcock's most famous films include 'Vertigo' (1959), 'The Birds' and 'Psycho' (1960). 'Psycho', first screened in New York on the 16th June 1960, was an immediate box office hit, producing $15 million in its first year after being completed with an expenditure of only $800,000. Famed for its shower murder sequence and exceptional shot selection and editing, it is an exceedingly influential and impenetrable psychological thriller with a nightmarish recipe of disturbing corruptibility, confused identity and voyeurism. Produced and directed by Alfred Hitchcock, it shocked and amazed audiences all over the world and created a basis for such films as 'Deranged' (1974), 'The Texas Chainsaw Massacre' (1974) and 'Silence of the Lambs' (1991). In 'Psycho', Hitchcock manipulates his audience by leading them on a twisting and turning tale creating many contrasting emotions and responses as the film plays with different themes events and techniques. Based on a novel by Robert Bloch, 'Psycho' was Hitchcock's 42nd film and followed his Technicolor hit 'North by North-West' (1959). Robert Bloch's Novel told of a legendary, real-life killer - Edward Gein - and after Hitchcock had anonymously bought the rights to the novel, he bought as many copies of the novel as he could 'lay his hands on', so the secret of the shifting storyline would be kept undisclosed. With films and shows such as 'The Swiss Family Robinson', 'My Fair Lady' and 'Mary Poppins' present in the period of the 'Psycho' release, it is clear that 'Psycho' is very disparate to the expected content of cinema showings at the time. In fact, 'Psycho' broke all but one of the film regulations of the American 1960's Film Censorship, which all screen plays had to gain approval of. According to the code, the following provisions applied: 1.The sympathy of the audience should never be thrown to the side of crime, wrong doing or evil - (this was broken once Marion became the criminal - stealing money - but still was shown to appear naïve and guiltless, and still the audience is pressed into identifying with her.) 2.Excessive and lustful kissing, lustful embracing, suggestive gestures and postures were unacceptable - (this was broken in the very first scene when Sam and Marion execute a seedy lunchtime affair) 3.Explicit nudity was unacceptable - (this was also broken in the first scene and also during the celebrated shower scene) 4.Swearing such as 'Damn', 'God' and 'Hell' was unacceptable - (this was the only regulation not to be defied.) 5.Brutality and gruesomeness has to be treated with the careful limits of good taste - (this was broken on the occasions when a toilet was flushed for the first time ever on screen, the two murders and when 'Mother's' corpse is revealed.) Several individuals went as far as to claim that Psycho ruptured many cherished American ethics, chiefly 'motherly love' when matricide was introduced to the 'increasingly scandalous' plot. This created outrage within the 1960's American public when something as sanctified as the devotion existing between mother and child was tainted with the permanent stain of these inimitable, never-before witnessed and unpardonable (for the era) scenes. It was also blamed for causing murders with its apparent horrifically brutal scenes being an influence to the unhinged serial killers of the time; therefore motivating an ongoing debate, still in impassioned question in the present day, about the relationship connecting the screen and street bloodshed. Today, countless film spectators sit undeterred and impervious through the atrocious and daunting scenes of the re-released and restructured 'Texas Chainsaw Massacre' (2003) and such nerve-jangling and ethereal scenes of 'The Blair Witch Project' (2000); making the once 'scandalous' and 'terrifying beyond reason' shots from 'Psycho' more like a scene from the latest 'Winnie the Pooh' release. In all fairness, perhaps comparing the complete timid-ness of 'Psycho's' scenes to 'Winnie' is exaggerating a little, but I have to say, when shown to my English class of twenty or so 14 and 15 year olds, the chilling resonance of the human scream did not bounce off the walls, but the happy sound of cackling teenagers seemed to air at various stages of viewing. Yes, today's audiences can swallow huge amounts of gore and ghastliness before even a flinch is spotted. At present, filmmakers must break down a great barricade of fearlessness to jolt present day spectators, contrastingly, in the 1960's this barricade was more of a small hedge, but still, Hitchcock obliterated this with a 10 tonne bulldozer. Hitchcock specifically requested that no people could enter the cinema to witness 'Psycho' once it had started, which at a time of cinema-goers thinking it natural to enter a film half-way through, was an abnormal request; an abnormal request that transformed the way we see films at cinemas today. One motivation for this demand was for one, that Janet Leigh - already a 1960's star and the only 'known' individual in the film - was 'killed off' in the first third of the film. This would have disappointed late-comers as I'm sure - just like today some (teenage girls in particular) would set out to see a film just because Brad Pitt, for instance, was starring - people of the time would go to see 'Psycho' for the reason that one of the biggest sex icons of the time - Janet Leigh - was in it. Another reason would be that late arrivals wouldn't feel the immense, nerve-tingling effect of the opening credits. Accompanied with high, A-tonal music without direction, it crafts anxiety and edginess among the emotions of the audience and forewarns viewers as to what the film will contain. The opening credits are in cold black and white which stresses the gothic darkness of the film, and adds emphasis to the contrast of the stark white lettering against the pitch black background. Rapid, slicing wipe-editing is added to the credits to generate a 'slashing' motion; this may well replicate a knife gashing skin (a main ingredient of the storyline). The music is very high-pitched short, dramatic and jarring to create anxiety and it engages interest - mimicking a nervous heart beating hurriedly. The split-screen effect suggests themes of the following movie are below the obvious and superficial. These effects and the non-directional music give the credits a swift pace which captures the attention of the audience and intrigues them using 'edge of your seat' techniques. 'Psycho' consists of many effective and dominant scenes using various 'on edge' atmospheres, non-diatonic or non-directional resonances and shots using darkening shadows to conceal or emphasise facial emotions, clever props to cunningly develop the storyline and subliminal messages. Personally, I feel that the two most powerful scenes are the opening scene - of Marion and Sam's shameful and sordid lunchtime affair - and the ending scene - the unforgettable eeriness of the zoom in on Norman when 'Mother's' voice is heard. I think these two scenes are the most memorable because they seem to be prominent to other scenes and their impact on the plot and audiences' emotions is immense. The opening scene begins with a panning shot of the city of Phoenix which then homes in on an 'unplanned' window where voyeurism is apparent as "you never did eat your lunch" is kinkily asked and we become 'Peeping Tom' on a fervent lunchtime 'quickie' in a low-priced hotel room. A feeling of awkwardness and of that we really shouldn't be viewing this couple's 'quality time' is noticeable as the viewers are deluded into thinking that the build up to a terrifying thriller in the opening credits is all a façade and the valid theme of the film is of cheap sexual thrills; a disgrace of the time which, in many peoples' eyes, should be kept well behind closed doors and not paraded on a large screen. However, the theme of a thriller is still secretly apparent in the scene as the parallel blinds are shown to be 'slashing' the screen horizontally, much a replica of the editing from the opening credits. Today, this scene is the type that would be accepted for the 7 o'clock slot on BBC, as sex is quite frequent on today's screens. Today, outcries of shock aren't heard if two people are seen to be just that bit too close, in fact, from music videos on 'MTV' to adverts and even the odd 'Disney' movie, we cannot escape sexual experimentation and it has become a huge part of our lives and 'big cats'' incomes as scenes get more and more 'risqué' every year. In the opening scene, Hitchcock uses 'close-ups' on the uneaten lunch to emphasise the reason why she hasn't consumed it, and also he applies the same technique to accentuate Marion and Sam kissing and the fact that they are lying half unclothed on a bed together. This stresses the ploy to render the audience to wrongly think the movie's theme is of sexual ecstasy and not of a chilling thriller. Other camera shots Hitchcock employs are showing Marion's facial expressions when her back is turned to Sam, this way the audience can better connect with her as they can associate her facial appearance with what she is feeling and are therefore able to feel the same. As well as clever camera shots, Hitchcock also makes the best of the advantages of shooting a movie in black and white by laying emphasis on the way Sam is feeling by using the concealing shadows to faintly block what his facial expression are when he is talking of his ex-wife. This symbolises that Sam is upset about his past and wants to hide away from it. The lighting is quite dull to suggest that there is something taking place in this inexpensive setting that shouldn't be brought into full daylight and should be veiled. However, the shot isn't in complete darkness or anywhere near it which suggests that Hitchcock wanted the audience to know exactly what was happening and there were no doubts about what was happening, it was very 'in-your-face'. Also the daylight and clear weather suggest that Marion and Sam are not ashamed of what they are doing and although it is hidden, in this case, behind horizontal blinds, it is still something that ensues. This reality was in the process of being an acceptance in the community; Hitchcock was just giving the truth a helping hand to emerge. In the scene the audience is imposed into sympathising with the character of Marion, learning that she is independent in her thoughts as she informs Sam that 'it's over'. Furthermore that she is calm and sensibly outgoing but still has sudden illogical outbursts that make her less of a character and more of human - something that the audience can relate to. This is the foundation of an ingenious plan to coerce the audience to believe that when Marion steals the money she's innocent and pure, when in actual fact Marion's law-breaking character is unmistakably culpable - thieving a huge amount of money for the time period. Hitchcock, however, appreciates that Marion is on the wrong side of the law subsequent to stealing the money, so separates the guilty and the guiltless personalities of the character by nothing other than the underwear worn. To elaborate on this point - Hitchcock dressed Marion in white (representing purity and virtuousness) underwear prior to her committing a felony, then in black (representative of guilt and darkness). Very clever, Mr. Hitchcock! Once the mystifying storyline has been solved, Norman (or 'Mother' should I say) has been imprisoned and countless questions are answered, 'Psycho' is ended with a disturbing and unsettling scene of Norman alone in a shadowy cell when 'Mother' has entirely taken over Norman's mentality. Norman's guilty conscience pushes him to punish himself for what he has done and the attraction he felt towards Marion. In this scene it is silent which creates a more apprehensive atmosphere and an element of suspense. Also, the lack of music enables the audience to think more for themselves as to what the theme of the scene is and what will occur to conclude it. Norman's facial expression is very still and calm; his eyes meet with the camera to create a feeling of discomfort and uneasiness, the stare also makes him look very ill-omened and creates suspense. He is sporting a blanket which symbolises that he is burying himself behind it and he has a guilty conscience that he is trying to hide from others. This blanket could also symbolise that the insignificant element of Norman left is using the blanket as a barrier to attempt to confine his 'Mother' and not let her expand any further than she already has. The scene hears 'Mother' condemning her son and commenting that she would 'never hurt a fly'. This remark is in reality the truth as 'Mother' is dead and so her killing someone is fairly impossible, however, what Norman remembered of his Mother lived on inside of him, nagging away at his already deranged mind, and this memory is the real killer, using Norman's body as a puppet to do the physical work. The statement is very effective as it forces the audience to think about the situation which makes the scene more memorable, and creates a sinister atmosphere and a feeling of an unwelcome presence attending the scene. The camera stays focused on Norman's face, generating a nervous feeling among the audience, and then zooms in very slowly towards Norman. This dawdling zoom-in creates suspense and is very creepily effective. The lighting is very dull and gloomy to suggest a dark and sinister presence and theme. The dimness establishes an element of fear as the audience gets a feeling that anything could lurk in the shadows, or Norman could do anything at any minute. This lack of light is also symbolic of Norman's guilty conscience as, along with the blanket, creates a shade for him to hide behind. The room contains nothing but Norman, so, when the audience puts themselves in the room, they get the feeling that there is no-where to hide. Also, the lack of objects symbolises that finally the truth has materialized as the room is clear of items for the reality to disappear behind. In the closing stages of the scene, a faint image of a skeleton creeps over Norman's face. This is especially disturbing as, as soon as the audience thinks they understand Norman's mental condition, the skeleton makes an appearance and we are abruptly thrown back off course as a supernatural element is added to the running of explanations. This is effective because it creates a great debate for the public to argue about of whether the skeleton visage was significant to the film or not. This way would enable more people to go to see the movie to discover the truth, and even if people were arguing about the movie, as they say 'bad publicity is still publicity', which may be a reason why the film did so well. The audience has recently been shaken with the true storyline - Norman's mental state, not revolving around the money - so they have no inspiration as to what will happen in the subsequent scene. Therefore, they have no expectations for the scene creating more trepidation and eeriness as the film's winding road of events could now turn in any direction. I think the ending scene is by far the most powerful. Its originality has the ability to linger in the mind of the audience for some time following and therefore is extremely memorable. The scene combines the daunting and ethereal themes to form an extraordinary, original ending that will unnerve you to the core as it entwines sinister sensations and mystification throughout your mind. Hitchcock's brilliance in this scene can never be reproduced; however, Hitchcock illustrates his giant power most effectively in the opening scene when he successfully deceives the audience into thinking the film has an utterly contrasting topic. This opening scene also demonstrates Hitchcock's supremacy as this scene created one of the biggest reactions ever, triggering a chorus of disapproval all over the world and possibly facilitating the film to be as huge as it was (or is). Hitchcock was a great filmmaker of the thriller genre crafting countless unforgettable movies that at the time could not be faltered. However, I think that if Hitchcock was around today to witness the astounding techniques used by current filmmakers, he could learn something new, like, for example, how to make someone appear to be falling down some stairs more realistically - one of the more unsuccessful qualities of the film. I think that if 'Psycho' was released now, the public would dismiss it beyond a shadow of a doubt firstly because it is filmed without colour. Secondly because there is no amount of gore or a great extent of violence, neither does it have any swearing to, let's admit it, make the film more 'cool'. Also, Janet Leigh, doesn't, if truth be told, have the qualities anymore to be the 'girl every man wants'. So, to bring it all together, the supposed thriller film, today, would be without colour, tame, 'uncool' and 'unsexy'. Not really the film that everyone will rush to see, is it? However, Hitchcock, although he may be slightly dated for the present and even his ten tonne bulldozer wouldn't make a scratch on the vast barricade that present day thriller filmmakers must conquer before audiences are even vaguely fearful, his colossal dominance over the global public - an amount that cannot be matched - and his aptitude to fashion a worldwide uproar will be reminisced for years to come. He was an incredible influence for thousands of filmmakers throughout the years and his work will continue to be applauded and honoured. He will go down as one of the greats the world procreated. . argue about of whether the skeleton visage was significant to the film or not. This way would enable more people to go to see the movie to discover the truth,. when the audience puts themselves in the room, they get the feeling that there is no-where to hide. Also, the lack of objects symbolises that finally the truth