Critical literacy in English Years 8 10

Critical literacy in English Years 8 10 Subject: Stage 5 English Class group: Year 10 Syllabus content: Film studies unit Text: Psycho by Alfred Hitchcock Lesson length: 70 minutes per lesson Context: The unit of work on Psycho aims to develop students critical literacy skills, and thus prepare them for the literacy requirements of the Stage 6 English syllabus. 2002 Secondary English LIG 1

Outcomes addressed A student: 5.3 uses and assesses a range of processes of responding and composing 5.4 selects, describes and explains appropriate language, forms, structures and features to shape meaning with clarity and coherence in a range of contexts 5.7 thinks critically using information, ideas and increasingly complex argument to respond to and compose texts in a range of contexts 5.9 questions, challenges and evaluates cultural assumptions in texts and their effects on meaning 5.11 uses, assesses and adapts skills for learning with increasing independence. Learning context This unit of work addresses the different ways of reading film, ways that extend beyond the literal understandings of plot and character. It provides students with a range of analytical tools to apply to texts. Students are given opportunities to develop an understanding of the decision-making process involved in filmmaking, and to identify how these decisions represent a view of the world and not reality. The key to this understanding is the ability to interpret and apply the visual language of film to analyse how meaning is layered through the elements of mise en scene. By providing alternative readings of texts and introducing students to analytical frameworks, teachers can encourage students to read texts on different levels and for different purposes and to acquire the critical perspective essential to the new Years 7 10 and Stage 6 English syllabuses. The writing components of this unit are aimed at encouraging students to adopt an academic style of writing in response to literature. The unit develops students background knowledge and the skills that they require to compose texts in Stage 6 English. Related teaching and learning strategies, outlined in Brian Miller s resource support document, include: complex naming groups; passive voice; normalisation; conjunction and modality. Aims The unit aims: to extend students knowledge and understandings of how meaning is rendered in film to expose students to a range of methodologies for analysing film texts to use these methodologies to write an interpretation of the film Psycho. 2 2002 Secondary English LIG

Texts Hitchcock A., 1954, Psycho, Paton Inc., from the video series, The Alfred Hitchcock Collection, 1999, Universal Studios. Additional text Hitchcock A., 1954, Rear Window, Paton Inc., from the video series, The Alfred Hitchcock Collection, 1999, Universal Studios. Context and scope Historical context Life in the late 1950s Women s issues, such as family, work and monetary power Authoriantentions Hitchcock s direction and personal beliefs about the purpose of his films, auteur theory Symbolic systems of meaning Mise en scene: body language, lighting, props, camera angles Genre and conventions Horror/suspense, psychological thriller, love story, moral tale Binary oppositions Male/female, black/white, good girls/bad girls, good Norman/bad Norman, boyfriend/voyeur Construction of gender Gender ideologies present in the film, transgression of social codes 2002 Secondary English LIG 3

Teaching notes Students need to be able to integrate new information with prior knowledge to create new knowledge. Therefore, teachers are encouraged to determine students prior knowledge about: camera angles and what they infer social distance, e.g., close-ups, medium shots, long shots the roles of production personnel, e.g. editor, cinematographer, director the grammar of film and film techniques. This information is freely available in several good film study books likely to be available in the school library. Two such resources are Featuring film 1 and Featuring film 2: The sequel, by Peter Cox and Fred Goldsworthy (see reference list). Introductory activities These activities draw on students almost encyclopaedic knowledge of contemporary mainstream films and it gives them confidence in the knowledge that they already know a great deal about the subject. This is also where you can start to build enthusiasm for the unit and Alfred Hitchcock. Expect a very lively discussion. Write a heading on the board: Genre: Horror films. Ask students to suggest titles of films to list under this heading. As the students suggest titles make two or three lists, breaking them into violent horror films, ghost stories and psychological thrillers. You may find that other genres also overlap. Use this to reinforce the students awareness of genre theory and how films mix genres. Discuss the differences between the two films Scream and The Sixth Sense. Suggest that one film relies on violence (blood and stabbings) and that the other relies on what goes on in the mind of the viewer (suspense and assumptions). Explain to the students that both of these films, and indeed most modern horror or thriller films are heavily influenced by one the world s most famous directors, Alfred Hitchcock. It can be said that Hitchcock perfected the genre of psychological thriller/suspense films. Explain to the students that they will be studying some of his work. 4 2002 Secondary English LIG

Develop students understanding of the key terminology The purpose of this activity is to help students build a glossary of terms. Prepare a display chart for relevant definitions: Glossary of terms Voyeurism Term Definition the act of viewing the activities of other people without them knowing. A voyeur gets pleasure from watching people in secret Write the term Voyeurism on the board. Ask the students if they are familiar with the term and ask them to suggest some possible definitions. Record some key words from the discussion on the board. Suggest some alternatives, such as peeping Tom. Display the chart Glossary of terms, discuss the definitions and how they reflect the students earlier responses. The chart can be built up throughout the unit, and be displayed in the classroom for students future reference. Explain that it is a key theme of Alfred Hitchcock s films. Students create their own glossary of terms page in their books to use as a personal reference for homework etc. View Alfred Hitchcock s Rear Window The purpose of this activity is to introduce the knowledge and skills required for readings of mise en scene. It is important to convey to students the significance of this film in film scholarship so that they view it seriously, despite its age. This is an ideal film to view before Psycho for several reasons. It gives a preview of the notion of voyeur and how meanings are made by viewing, which is what the students will be doing. It is in colour so prejudices that arise when watching Psycho in black and white are overcome by students heightened interest in what Hitchcock has to say next. It is an ideal film for practising the reading of mise en scene for Psycho. View Rear Window 2002 Secondary English LIG 5

Responding activities for Rear Window Select one scene from the film for students to deconstruct the meanings conveyed via mise en scene, sound and direction. The most appropriate scene is likely to be when Lisa finally begins to believe Jeff s account of what he sees from the window. Worksheet 1 Students complete mise en scene activity sheet and report back to the class. Add mise en scene to the chart, Glossary of terms and to students workbooks. View the remainder of the film. Key discussion points for Rear Window. Discuss the manner in which: each window that Jeff looks at is like channel surfing on TV Jeff s obsession with looking is depicted. Is he a voyeur? atypical roles are assigned. For example, Lisa takes the male role of action and Jeff takes the female role of passivity Lisa s aspirations to marry are portrayed. Why is this different from today s representations of women in films? the viewer is positioned. Discuss how, through the editing, by looking at Jeff and then looking with Jeff, seeing what he sees, we become voyeurs too. View Psycho Discuss with the students the importance of this film to the horror genre and the enormous impact it had on viewing audiences. Explain that the use of black-and-white film stock was a deliberate choice by Hitchcock. It is not necessary to explain at this point that it was an experiment in producing B-grade movies. Explain also that, for a whole generation of movie-goers, taking a shower was never the same again! It is important that students view the film for the first time uninterrupted, except for the credits and opening scene activity. This activity focuses the students on how they are being positioned to view the film in the opening few minutes. It also encourages active viewing and an awareness of how Hitchcock applies his craft. View Psycho 6 2002 Secondary English LIG

Responding activities for Psycho Worksheet 2 Credits and opening scenes activity. It is important to have a general discussion about the film at this point. The introductory activities have prepared the students to view films differently and more analytically. Some students will have noticed different features of the film and will be willing to discuss what they mean. Sample questions for discussion Why did Marion wear white underwear in the first scene and black underwear after she stole the money? Did you suspect Norman? Why or why not? What is your impression of the special effects? How would Hollywood make the movie today? Composing activity for Psycho Writing task: mise en scene in the mini-essay. The purpose of this activity is to teach the basic structure of an essay in an explicit way, utilising such features as paragraphs, topic sentences and references to the text. Included are a sample interpretation and an explanation of the mini-essay. This term is used simply because students respond to it. Students will be required to apply the knowledge and skills developed in the activity to the longer essay planned for later in the unit. Teaching steps: 1. Model of deconstruction mise en scene. Use the stimulus sheet provided, where Norman brings Marion a tray with supper on it. Worksheet 3 2. Distribute copies of the model mini-essay and place a copy on the overhead projector. The essay uses all the evidence from the model deconstruction sheet to build the essay. Worksheet 4 3. Annotate the model essay on the overhead, as attached. Students copy annotations as the teacher gives a demonstration and explanation. Worksheet 5 4. Students work in pairs to complete new deconstruction sheet on the mise en scene to provide evidence and examples for the essay. Worksheet 6 2002 Secondary English LIG 7

5. Students then complete an essay of their own, using this sheet and the model essay sheet for structure. 6. Students annotate their own essays, using the same annotations as demonstrated on the model essay. This is an important step in the learning process, as it assists students to realise the elements of the essay that they have omitted. It also helps students learn a metalanguage for use in further work. 7. The activity can be marked by the teacher or by the students themselves, using the marking criteria provided. This sheet may need to be adapted to suit the learning needs of different classes or individual students. Worksheet 7 Additional activities in responding and composing The following activities provide opportunities for students to respond to the text or to compose their own texts. Teachers are encouraged to consider the identified learning needs for their students and to adapt selected activities, so that they cater for these needs. Analysing Psycho The worksheets developed for this section of the unit are designed to provide students with: information about the context and technical aspects of film opportunities to write and compose texts opportunities to build the glossary of terms a bank of writing to draw from for their interpretive response. The worksheets may be completed individually or in groups. The writing or presentation components in each task may be used as formative assessment tasks for the unit. Worksheet 8: Historical context Students are required to make a presentation to the class on their findings and can be assessed on skills in group work, content and presentation. Worksheet 9: Dominant ideology Worksheet 10: Binary oppositions Worksheets 11 and 12: Jung and the dark side, 1 and 2 8 2002 Secondary English LIG

Worksheet 13: Auteur theory Worksheet 14: Feminist reading-spectatorship Writing about Psycho Throughout the unit, students can be encouraged to write about their own interpretation of the text. Sample questions: How is gender constructed in Psycho? How are good and evil constructed in Psycho? Alfred Hitchcock is called the master of suspense. Do you agree? Arriving at an interpretation of Psycho Prepare students to think about the multiple meanings available in Psycho by getting them to individually complete worksheet 15. Worksheet 15: Psycho is about After they have narrowed down their choices they are asked to agree in groups about the top three choices from the list Worksheet 16: Psycho is really about When they have completed this task the teacher should lead the class in working out a definition that combines the three final choices. This final definition will be the introductory statement in their interpretive essay on Psycho. Assessment: Interpretive essay Students design an opening sentence for the interpretive essay. Use the opening sentence to jointly construct the first paragraph with the class. Students complete the second paragraph in pairs. Students complete the essay individually. Students are assessed on their final essay using criteria marking. 2002 Secondary English LIG 9

References Cox P. and Goldsworthy F., 1997, Featuring film 1, Oxford University Press, Melbourne. Cox P. and Goldsworthy F., 1997, Featuring film 2: The sequel, Oxford University Press, Melbourne. Hayward S., 2000, Cinema Studies: the key concepts, Routledge, London. O Shaughnessy M., 1999, Media and Society: an introduction, Oxford University Press, Melbourne. Mulvey, L., 1989, Visual and Other Pleasures, Inidana University Press, USA. Suggested additional texts Truffaut, F., 1985, Hitchcock: revised addition, Simon and Schuster, New York. Bloch, R., 1990, Psycho, Mass market paperback, Tom Doherty Associates. Suggested web sites Downloadable script of Psycho: http://www.paradiselost.org/psycho.html Stills and essays: http://www.brightlightsfilm.com/28/psycho3.html http://web.tiscali.it/andrebalza/fpsycho1.html http://www.filmsite.org/psyc.html 10 2002 Secondary English LIG

Worksheet 1: Mise en scene Mise en scene refers to everything with a specific scene in a film that gives the scene meaning. All scenes in films are meticulously planned to mean certain things. It is useful to analyse how the scene is shot, where the actors are placed, what sounds are in the background, what objects are placed in the scene and the lighting of the whole scene to unpack what meaning the director wants to convey to the audience. In groups, watch the following scene and write in the following boxes whaou observe. Report back to the class whaour group observes. Discuss how these elements combine to make meaning. Position of the actors Length of shots Sound Angle of shots Lighting Objects within the scene 11

Worksheet 2: Guide for viewing Psycho Credits 1. What words could you use to describe the music playing during the credits? (slow, soft, etc?) 2. How do the graphics in the opening credits work? Do they reveal anything about the film? Why? 3. What mood do the credits create (peaceful, romantic, etc?) Why? Opening sequence 1. From what perspective do you view the opening shot? 2. What would you call this camera shot? 3. Describe the time and place of the opening sequence. Why do you think the director was so specific about time and place in the opening sequence? 4. Why are the two characters dressed in the way they are? What does this tell us about the film conventions of the day? 12

Worksheet 3: Deconstruction of mise en scene Teacher s note: Select a still of the scene where Norman invites Marion to come into the parlour. Refer to: http://www.brightlightsfilm.com/28/psycho3.html Camera angle (eye level, low angle, high angle ) Eye level. Describe the effect and what it might mean: The camera shoots them in a neutral way, suggesting normality. Lighting (source of light, angle of light) High angle from wall light Describe the effect and what it might mean: Light pours down on the figures illuminating Marion more, to suggest that she is the victim. Her clothes can be seen but Norman s shape and clothes become darker. The scene is also backlit to indicate a cosy interior behind them. Body position: Both standing facing each other Norman holds the tray and Marion stands with her hands beside her. Describe what this might suggest: Binary opposition of good and evil. Norman s arms holding the tray look as if they are pointing to Marion while she is standing with her arms beside her, making her look unprotected and unaware of Norman s intent. Objects in the scene (shape, significance, symbolising ) Milk jug. Norman s reflection in the window. Describe what this might suggest: The shape of the oversized milk jug is like an arrow that points to Marion; because Norman is holding the tray it suggests that he has chosen her as his victim. The reflection in the window suggests the duality of Norman s personality and is a motif that is repeated in the film. (When people stand at the desk to register, their reflections can be seen in the mirror on the wall.) 13

Worksheet 4: Model text Interpretation of the meanings conveyed by mise en scene in the parlour scene of Psycho The parlour scene from the film Psycho reveals much about how meaning is conveyed to a viewing audience by the use of mise en scene. In this scene, Norman brings Marion supper on a tray but the real message revealed by the objects, lighting and placement of the actors is that Marion is clearly being chosen by Norman to be his next victim. The angle of the light source for this scene is high on the wall between the two figures, but closer and illuminating Marion more. The light falls on Marion s head, and a beam of light points directly at Marion. This suggests that Marion is the focus of Norman s attention and makes her seem more vulnerable because she is in the spotlight or in the sights of the killer. The most obvious object in the scene is the oversized milk jug on the tray that Norman carries. The jug is seen in profile, with the spout pointing directly at Marion. This reinforces the idea that Norman has fixated on Marion and has made her his prey. The position of the actors and their body language are also important in the reading of a scene. Although the camera is at a neutral angle and suggests nothing about the power relationship between the two figures, the body language reveals much about what is in the mind of Norman. Norman s arms holding the tray look as if they are pointing to Marion, but she is standing with her arms at her side, which makes her look unprotected and unaware of Norman s intent. Norman is positioned as the aggressor and Marion as the victim. The meanings rendered by mise en scene in this still from the film are effective because they subtly suggest and preview what will happen later in the narrative. They build up a feeling of unease in the viewer because they are in contrast to Norman s feigned friendliness to Marion. He smiles and acts with boyish kindness while at the same time plotting Marion s savage murder. 14

Worksheet 5: Model text Model text of interpretation of the meanings conveyed by mise en scene in the parlour scene of Psycho Preview of main idea and interpretation and examples to explain Links with ideas previewed in introduction. Topic sentence. Example to support idea. Links with ideas previewed in introduction. Topic sentence. Example to support idea. Links with ideas previewed in introduction. Topic sentence. Example to support idea. Evaluation and judgement. Restatement of key idea. The parlour scene from the film Psycho reveals much about how meaning is conveyed to a viewing audience by the use of mise en scene. In this scene, Norman brings Marion supper on a tray but the real message revealed by the objects, lighting and placement of the actors is that Marion is clearly being chosen by Norman to be his next victim. The angle of the light source for this scene is high on the wall between the two figures, but closer and illuminating Marion more. The light falls on Marion s head, and a beam of light points directly at Marion. This suggests that Marion is the focus of Norman s attention and makes her seem more vulnerable because she is in the spotlight or in the sights of the killer. The most obvious object in the scene is the oversized milk jug on the tray that Norman carries. The jug is seen in profile, with the spout pointing directly at Marion. This reinforces the idea that Norman has fixated on Marion and has made her his prey. The position of the actors and their body language are also important in the reading of a scene. Although the camera is at a neutral angle and suggests nothing about the power relationship between the two figures, the body language reveals much about what is in the mind of Norman. Norman s arms holding the tray look as if they are pointing to Marion, but she is standing with her arms at her side, which makes her look unprotected and unaware of Norman s intent. Norman is positioned as the aggressor and Marion as the victim. The meanings rendered by mise en scene in this still from the film are effective because they subtly suggest and preview what will happen later in the narrative. They build up a feeling of unease in the viewer because they are in contrast to Norman s feigned friendliness to Marion. He smiles and acts with boyish kindness while at the same time plotting Marion s savage murder. Reference to the text. Identification of audience. 15

Worksheet 6: Deconstruction of mise en scene Teacher s note: Select two scenes from the fim for students to deconstruct. Camera angle (eye level, low angle, high angle ) Camera angle (eye level, low angle, high angle ) Describe the effect and what it might mean: Describe the effect and what it might mean: Lighting (source of light, angle of light) Lighting (source of light, angle of light) Describe the effect and what it might mean: Describe the effect and what it might mean: Body position: Body position: Describe what this might suggest: Describe what this might suggest: Objects in the scene (shape, significance, symbolising ) Objects in the scene (shape, significance, symbolising ) Describe what this might suggest: Describe what this might suggest: 16

Worksheet 7: Sample marking grid Essay marking grid 1 2 Introduction Reference to the text Audience identified Key ideas stated Paragraph 1 Topic sentence Links with key ideas in Introduction Example to support idea Paragraph 2 Topic sentence Links with key ideas in Introduction Example to support idea Paragraph 3 Topic sentence Links with key ideas in Introduction Example to support idea Conclusion Re-statement of key ideas Judgment or evaluation of effectiveness Punctuation, spelling, technical language Total marks 17

Worksheet 8: Historical context Research Although Alfred Hitchcock was indeed the author of the film and controlled the meanings that he wanted the audience to get from the narrative, it is impossible for us to really understand what these were 40 years later in exactly the same way. It is difficult in this day and age to understand what motivated Marion to steal the money in order to have a respectable life with Sam, unless we understand what society was like in the 1950s, especially for women. Some of you will have seen the films Pleasantville or Blast from the Past. These films play with the differences in social standards between the 50s and today. Another texou will be familiar with is Grease, think about Sandy and the choices she had available to her. To complete the following table you will have to carry out research, using the library, the Internet and perhaps questioning older family members about the 1950s. Women in the1950s Work (What percentage of women worked and what kind of work did they do?) Money (Who controlled it?) Family Morals (Was it acceptable to live with someone outside marriage? etc.) Who were the movie stars of the day? What types were they generally? (Look up Doris Day and Sandra Dee.) 18

Worksheet 9: Dominant ideology As you have found from your research there were definite ideas in the 1950s of how women and society should be. This is called the dominant ideology of the times. It is clear that in the 1950s women were really happy only if they were married. Women s place was definitely in the home, raising children and men were the breadwinners (the only member of the family who worked outside the home). Men were also the decision-makers for the family unit and controlled the money. Representations of women in movies usually worked with this code of society. In fiction, to go against these dominant ideologies usually meant some sort of punishment for the character who broke these unwritten rules. Let s look at Marion, for example. How did she transgress (break or disrupt) the social codes of the day? Conventional representatives of women in the 50s and 60s in film and TV Marion Crane Writing task Explain to someone who didn t know anything about the 1950s why Marion had to die. (1 page) 19

Worksheet 10: Binary oppositions Binary comes from the Latin word bini which means two. Binary oppositions are about pairing things into positive and negative, yes and no, black and white. This is a very helpful toon understanding how narratives are constructed. It is also usefun comparing ways in which characters are constructed in films. For example, in Star Wars Luke Skywalker always wears white and Darth Vader always wears black. Complete the table below and consider how Hitchcock uses this system in Psycho. Oppositions Objects vs Clothing vs Characters vs Settings vs Emotions vs Social codes vs What characters value vs 20

Worksheet 11: Jung and the dark side Part 1 Psycho can be understood on another level, using the some of the ideas of Carl Jung. Jung is one of the most famous psychiatrists of our time (the other one is Sigmund Freud). Alfred Hitchcock was particularly interested in the way in which each o f us has a good side and a bad side to our personality. This duality is one of the major themes of Psycho. Hitchcock was referring to the work of Carl Jung which is detailed below. Individuation This is when a person confronts his or her shadow side. Successfundividuation means that a person finds his or her reanner life and fulfilment in life by confronting the dark or negative side within and conquering it. People need to recognise the negative aspects of themselves to reach maturity. Jung suggests that, if people ignore them, these negative aspects grow bigger and will eventually destroy them. These ideas are used extensive ly in fictional texts. For example, in Tolkien s Lord of the Rings some of the main characters overcome their desire to possess the ring and use it for their own purposes. Therefore they are tested and are changed by the challenge to the positive person within. This is the basis of narrative growth or the way in many which stories develop. Can you think of any other films or stories that use this principle? Using this theory, identify the positive and negative sides to Marion and Norman. Marion Norman Positive Negative Positive Negative Writing task Using Jung s theory of individuation, write one paragraph on each character, explaining how and if each of these characters achieved successfundividuation. Firstly explain the negative and positive sides of each character and then discuss, referring to the film, how each character dealt with this challenge. 21

Worksheet 12: Jung and the dark side Part 2 Anima and animus Another of Jung s concepts is the idea of anima/animus. This simply means that each person s soul or spirit is made up of both masculine and feminine parts. Jung says that, after individuation or the incorporation of the shadow self, men discover their inner-feminine self and women discover their inner-masculine self. Before this occurs in middle age, men and women seek their opposites. The idea here is balance between the two. Using this concept, consider Marion and Norman again. What aspects of their personalities were male and female? Marion Norman Female Male Female Male Writing task What happens when Norman seeks his opposite (feminine) self; what happens when Marion seeks her opposite (masculine) self? 22

Worksheet 13: Auteur theory Auteur theory was made famous by a French filmmaker, Francois Truffaut, in the 1950s. This theory saw the director as the main maker of meaning in the film (his decisions about script, narrative and filming techniques). Truffaut was a great admirer of Alfred Hitchcock because of his distinctive filmmaking style and control of mise en scene. What key decisions did Alfred Hitchcock take that made him the author of the film? Pre-production (before the film was shot) Production (during the filming; direction, music, acting etc.) Post-production (after the film was made; distribution of the film, advertising, promotion) Writing task Write one or two paragraphs explaining why Alfred Hitchcock is the author of Psycho. 23

Worksheet 14: Feminist readings: Spectatorship Writing task Who looks at Marion Crane? According to Laura Mulvey s Visual Pleasure and Narrative Cinema, Hollywood cinema is based on three looks which produce desire in the male unconsciousness: the voyeuristic look of the camera the look of the male which makes the woman the object of his gaze the look of the spectator, who is forced to identify with the look of the camera (1&2). Identify who looks at Marion Crane; put a name in each space and quote the scene or scenes underneath. Teacher s note: Select a still of Marion from the film. Writing task Is the camera always a male? Are we forced, by watching this film, to adopt a male view of the world? Why? 24

Worksheet 15: Psycho is about 1 Psycho is about human fears and frailties. 2 Psycho is about Norman s obsession with sex. 3 Psycho is an examination of evil. 4 Psycho is just a horror film. 5 Psycho is filmed in black and white because it had to be made cheaply. 6 Psycho is about how people express themselves through violence. 7 Psycho is about sexual morality. 8 Psycho is about how humans are sexually frustrated. 9 Psycho is just a story. 10 Psycho is a film about morality in the 1950s. 11 Psycho is about woman as eternal victim. 12 Psycho is about human depravity. 13 Psycho is about the beginning of modern psychiatry. 14 Psycho is about serial murders. 15 Psycho is looking at schizophrenia. 16 Psycho is about the duality of human nature. 17 Psycho is a tragic love story. 18 Psycho is really psycho -babble. 19 Psycho was made to just make money. 20 Psycho was made to show off. 21 Psycho is about how awful human beings can be. 22 Psycho is about how goodness eventually wins. 23 Psycho is about Hollywood. Unlikely Likely 25

Worksheet 16: Psycho is really about 1 Psycho is about human fears and frailties. 2 Psycho is about Norman s obsession with sex. 3 Psycho is an examination of evil. 4 Psycho is just a horror film. 5 Psycho is filmed in black and white because it had to be made cheaply. 6 Psycho is about how people express themselves through violence. 7 Psycho is about sexual morality. 8 Psycho is about how humans are sexually frustrated. 9 Psycho is just a story. 10 Psycho is a film about morality in the 1950s. 11 Psycho is about woman as eternal victim. 12 Psycho is about human depravity. 13 Psycho is about the beginning of modern psychiatry. 14 Psycho is about serial murders. 15 Psycho is looking at schizophrenia. 16 Psycho is about the duality of human nature. 17 Psycho is a tragic love story. 18 Psycho is really psycho -babble. 19 Psycho was made to just make money. 20 Psycho was made to show off. 21 Psycho is about how awful human beings can be. 22 Psycho is about how goodness eventually wins. 23 Psycho is about Hollywood. Unlikely Likely 26

Worksheet 16: continued a b c d e f g h i j k Psycho is about human fears and frailties. Psycho is about human depravity Psycho is a tragic love story. Psycho is about how goodness eventually wins. Psycho is about how people express themselves through violence. Psycho is about the duality of human nature. Psycho is an examination of evil Psycho is about how awful human beings can be Psycho is just a horror film Psycho is about morality in the 1950s Psycho is looking at schizophrenia The table above represents the choices thaou made yesterday. You must now pick the three statements that best describe what the film, Psycho is really about. Write them out below:.................................... 27

Assessment interpretive essay: Sample student responses Sample 1 The film Psycho is about the duality of human nature. It discusses the depravity and morality of the 1950s. This essay will look at how Alfred Hitchcock presents these themes through three key scenes of the film: the opening scene, the shower scene and the parlour scene. The camera techniques in the opening scene position the viewer to be a voyeur by witnessing an illicit affair between the main character Marion and her lover. The scene begins with the camera panning down through the city. During this time the date and time of day are revealed. This has been included so that the viewer realises that it is a workday and lunchtime. The camera finally focuses on one window and the audience are forced to peer through the window like a voyeur to witness Marion conducting an affair during her lunch break in a motel. Marion is having an affair because her lover cannot marry her until he is more financially able. She longs for the respectability that marriage will bring, especially important in the late 1950s. She regains her respectability in the scene by getting dressed. An important feature here is Marion s white underwear which symbolises her innocence. Later in the film after she steals the money she wears black underwear which symbolises her guilt. The cinematography of the shower scene depicts Marion as an innocent victim being punished for transgressing the strict moral codes of the 1950s. In the shower scene the camera focuses on Marion s eye symbolising the duality of her innocence and guilt. This paradox represents the transgression of the strict moral codes of the 1950s by Marion. By being a sexually active single woman who steals money from a powerful man, Marion challenged the chauvinistic views of the patriarchy and had to die even though she planned to pay the money back. The mise en scene, lighting, position of the characters and objects in the parlour scene portrays the characters duality in an obvious way. This duality is exemplified through shadows and the objects in the scene. Norman s face is only half perceived giving a Jekyll and Hyde effect, making us believe he has a sense of depravity, a darker side to him. Marion is positioned on a lower level to Norman and is usually shot front on. This results in us perceiving that she is less powerful and in a vulnerable position. Norman is also depicted as the hunter and Marion the prey because of the stuffed birds of prey that are always shown in the background behind Norman. They are also heavily shadowed suggesting the double nature of Norman. Alfred Hitchcock achieves his goal of portraying his three main themes of depravity, duality and morality successfully in the film by the layering of meanings in mise en scene, cinematography and by making the audience a voyeur by identifying them with the view of the camera. Sample 2 Psycho is a clear example of the strict moral codes of life for women in the 1950s. In the 1950s there were strict unwritten social rules for behaviour. This behaviour is openly transgressed by Marion. The transgression is highlighted by the dual nature of the characters in the film. The characters Marion and Norman have opposite sides to their natures and both have to pay when their dark sides take control. Marion steals money and Norman kills. This film gave rise to controversy when released because the film itself was a provocative example of transgressing social expectations by audiences. 28

Assessment interpretive essay: Sample student responses In the opening scene the camera positions the viewer as a voyeur. The audience as voyeur witnesses the illicit love affair between Marion and her lover. Her lover is a divorcee and Marion is using her lunch break to carry out her affair. An affair in the 1950s clearly transgresses the moral codes of society as Marion is well aware and she is desperate to marry Sam. The scene opens with Marion in a state of undress, clearly a sign of her affair. She reproaches Sam about her desire to be respectable and as she dresses for work, regaining her respectability, she has a sudden flash of guilt and wishes to move back to the accepted moral, social ground of women in the 1950s. Marion displayed a desire to satisfy this criteria through her wish to be married. The parlour scene depicts Marion as an innocent, naïve person, the opposite of the immoral woman in the opening scene. This illustrates another example of duality in the film. This scene depicts Norman as the evil, dominating character. The low camera angle makes Norman appear to be looming over Marion and therefore Marion has to look up at Norman. The lighting intensifies the duality of Norman s character, being both the mother and son, by casting shadows over his face which is a deliberate indication of his two sides. Also his bad side is exposed by the use of birds of prey in the mise en scene which symbolise his role as the predator. In contrast Marion is framed by domestic objects such as a table lamp which gives off a warm glow and she is seated in a comfortable chair. By using camera angles the cinematography portrays Marion as the innocent victim and Norman as the evil hunter. These ideas are reinforced by the objects placed around them. In the shower scene the camera focuses on Marion s eye. The open staring eye represents both her innocence and guilt at the same time. By dying Marion is punished for transgressing the strict moral codes of the 1950s yet her open eyes suggests that she has done nothing to deserve her death at Norman s hand. The camera slowly zooms from extreme close-up to a medium shot finally resting on Marion s shocked eye. This allows the audience to reflect on her sins and punishment and also her unwarranted death. Psycho is an example of the penalties involved for women who transgress the accepted moral codes of society in the 1950s. Women are represented as the holders of morals for the whole of society and society in the 1950s accepted that they must suffer if they didn t follow the rules. Alfred Hitchcock s Psycho is more than just a horror film, it tells us about the duality of human nature and reveals a great deal about the social standards of the time. Sample 3 In the opening scene the camera positions the viewer as the voyeur. The voyeur observes an illicit affair between Marion and her lover. This prohibited affair is obvious because of the director s explicit use of the time of day and the informality of the actor s clothing. These aspects of direction help to bring into question the moral codes of the 1950s. Clearly women of this period were usually not represented in this way. Women were normally expected to be respectable and live within the moral boundaries of the day. Marion transgressed these boundaries because she was conducting an illicit affair with a divorced man in a city motel when she should have been at work. Marion was aware that she was violating the unwritten rules of behaviour, therefore she is desperate to be respectable. She convinces her boyfriend Sam that she wants to be respected by getting married. She dresses and leaves for work and this symbolises her regaining of her respectability. 29