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Bars – horizontal, irregular, grey
Reverse text – white on black, cast list at start
Music – Bernard Herman’s score is jumpy and anxious
Pan – calm, blanc city of Pheonix, Arizona
Documentary title – “Friday December the Eleventh”
Zoom in – to be bedroom hidden by horizontal Venetian blinds
Level shot – intimate scene includes us in the action
Wordplay - “They also pay who meet in hotel rooms.”
Colour – white blouse represents purity
Memoir - “Tranquilisers” used by office lady during sex.
Objectification of emotion - Man “buying off unhappiness” by giving daughter a $40,000 home as wedding present
Partial disagreement - “I can’t buy off unhappiness with pills” says Marian – money instead.
Foretelling - “I’m just going to go and put this money in the bank”. Shadow as she walks out.
Colour – black pants and bra represent evil
Close up – money in envelope
Motif – mirror shows two parts of human character – black eye socket in mirror figure
Music – notes increase in length to build suspense
Medium close up - Squinting in lights while driving at night – later onto off-ramp.
Long shot - police car in black uniform, black car.
Close up – number plate California - she is different as Arizona.
Ambiguous introduction - “I’m in no mood for trouble.”
Lack of hesitation - “OK!” $700 and old car for new car
Low angle dealing money – security camera.
Question - “She looked like a wrong’ne to you.”
Hurried exclamation - “Hey, stop!”
Direct medium close up shot – Marian’s eyes
Voice over - “I’ll get it back and if any of its missing I’ll pay for it with her own flesh.”
Colour - Motel is light, Gothic house/mother figure/Norman black
Ambiguous statement - “I thought I’d get off the main road.”
Listing - “Sandwiches and milk” childish dinner
Personal pronoun - “I won’t have you bringing strange young girls up for supper.”
Bird motif - Simile “You eat like a bird.” / Opinion “Birds are passive creatures.”
Generalisation - “A boy’s best friend is his mother.”
Metaphor - “We’re all in our private traps, clamped in them, and none of them can ever get out. We scratch and claw.”
Question - “Why don’t you put her in some place?”
Simile - “She’s as harmless as one of those stuffed birds.”
Development - “We all do mad things sometimes.” and “just one time can be enough”
Bird motif – shot composition - Norman foreground enveloped in stuffed birds background
POV shot and Colour - Norman looking through peephole at Marian taking off black clothing
Medium close up shot – Medium close up of her smiling, redeemed
Medium close up - with killer approaching in background
POV shot - of Norman as killer as Marian screams
Montage - of stab, cutting, screaming, blood, plughole dissolve to eye
Pan shot - from bathroom to money
Music – High pitch as Norman systematically cleans/mops up room
Red hearing - Norman places newspaper in car
Low angle shot - of car (part of Marian) into quicksand
High angle shot - of Norman nibbling like bird
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Zoom out - woman buying insecticide
Mid shot - Arbogast, Sam, Lila all now involved
Accusation - “It looks like you’re hiding from the world.”
Norman - “She might have fooled me, but she didn’t fool my mother.”
POV – his POV shots show his vulnerability, Norman’s POV shots show fall
Conversation – with policeman who is unhelpful – Marian is a lost criminal, Norman’s mother is dead, Arbogast is dishonest as a private detective
Low angle shot – Norman carrying mother’s body to fruit cellar
Mid shot – Lila and Sam with church background
Mid shot – Sam mirrored and taller, though Norman looks similar
Montage – progression of POV low angles and high angles as Lila nears house
Music – rising pace, until Sam stops Norman from murdering Lila, and the music becomes unravelling and inconsistent
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Psychological explanation - The “father died”, The mother was a “clinging, demanding woman”, Killed mother and her lover, He “often only mother as he tried to be her”
Voice over - schizophrenic speaking of mother – “No one will suspect a thing”
Mid shot – Norman with head down, looking forward – eyes are black and soulless
Transposition – mother’s skull over Norman’s head
High angle - down ropeline as car is pulled back up again
Black on white text – “The End”
Lack of credits
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