Narrative Parameters in 'Psycho'
GRIN Verlag, 2013 - 60 pages
Seminar paper from the year 2009 in the subject English Language and Literature Studies - Literature, grade: 1,0, University of Trier, course: The American Films of Alfred Hitchcock, language: English, abstract: 1. Introduction It was probably Psychos expressionistic interplay between music, mise en scene and story telling which remotely reminded me of Martin Scorseses Taxi Driver, a film I had written about before, that fostered my decision to write about the film that is by many considered to be Alfred Hitchcocks masterpiece. As a student of English literature I became quickly interested in the literary model of Psycho by Robert Bloch. It soon dawned on me that since the book is basically a piece of pulp fiction with considerably low literary value I would not be able to draw very profound interpretations out of it. Hitchcock however had not adapted the book for its substance but for its structure which he had incorporated with some minor alterations almost identically into the film. On my search for the structure of my paper a book by Vibeke Reuter called Alfred Hitchcocks Handschrift rose my attention. Her starting point basically is the question what constituted Hitchcocks originality and in how far his filmic material differs from its literary models. With occasional references to the books she analyzes Hitchcocks films according to ten different narrative parameters. These parameters cover a broad range of aspects and in terms of narration display a rather integral picture. I adopted her structure but omitted the parameter of the "structure of time" since Hitchcock pretty much conformed with the novels chronology and the fact that some characters are in a way imprisoned by their past did not prove to be enough to form a whole subsection. As far as she referred to Psycho in her book I have integrated her arguments into my own argumentation. Like her I have primarily concentrated on the 1960 film and only referred to the novel in order to elaborate on
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akademische Texte Alfred Hitchcock already laid Arbogast audience Bates house Bates motel Blochīs novel camera car dealer characters colleague Caroline Daniel Roth Narrative dawn of chaos diagonal dialogue emotions end Mother says evil experiential register expressionistically Fairvale film starts filmīs final girl forbidden love gaze genre GRIN Verlag guilt Hitchcock pretty Hitchcockīs films Hitchcockian identification identificatory invoked itīs killer Lila literary models looming MacGuffin Master Plot motherīs voice motifs and symbols Norman and Marion Norman Bates Normanīs madness Normanīs mother Parameters in Psycho paranoia parlor scene pervades picture private island psychiatrist question about Marionīs register of narration reprehending Norman riddle Robin Wood Roth Narrative Parameters Sam and Lila Samīs schizophrenia sexuality Sheriff Chambers shower murder slasher film speaking the birds split personality stairs stalker stays ambivalent story subjective tracking shot superego Syd Fieldīs tell threatening basements throughout the film Truffaut 73 uneasyness Vibeke Reuter victim viewer visual