Talk:Psycho (1960 film)/references

Chapters about Psycho

 * (Introduction Challenges the way Lacanian theory, as construed within film theory, has narrowed the field of possibilities of psychoanalytic approaches to cinema. Specifically, the question of affect is focused on, and how it may be traced through textual analysis. The author argues that affect has attracted little attention within psychoanalytic film theory because of the strong emphasis on the Lacanian psychoanalytic model, which revolves around the question of language and the gaze. Drawing on the writings of Andre Green, Nicolas, Abraham and Maria Torok as well as Raymond Bellour and Lacan, Vertigo, North by Northwest, and Psycho as components of a single filmic system in the light of 3 psychical structures: melancholia, mania and paranoia/schizophrenia, the degree to which the narrative, visual style and dominant affectivity of each film are interrelated and determined by each other is demonstrated.)
 * (Introduction Challenges the way Lacanian theory, as construed within film theory, has narrowed the field of possibilities of psychoanalytic approaches to cinema. Specifically, the question of affect is focused on, and how it may be traced through textual analysis. The author argues that affect has attracted little attention within psychoanalytic film theory because of the strong emphasis on the Lacanian psychoanalytic model, which revolves around the question of language and the gaze. Drawing on the writings of Andre Green, Nicolas, Abraham and Maria Torok as well as Raymond Bellour and Lacan, Vertigo, North by Northwest, and Psycho as components of a single filmic system in the light of 3 psychical structures: melancholia, mania and paranoia/schizophrenia, the degree to which the narrative, visual style and dominant affectivity of each film are interrelated and determined by each other is demonstrated.)
 * (Introduction Challenges the way Lacanian theory, as construed within film theory, has narrowed the field of possibilities of psychoanalytic approaches to cinema. Specifically, the question of affect is focused on, and how it may be traced through textual analysis. The author argues that affect has attracted little attention within psychoanalytic film theory because of the strong emphasis on the Lacanian psychoanalytic model, which revolves around the question of language and the gaze. Drawing on the writings of Andre Green, Nicolas, Abraham and Maria Torok as well as Raymond Bellour and Lacan, Vertigo, North by Northwest, and Psycho as components of a single filmic system in the light of 3 psychical structures: melancholia, mania and paranoia/schizophrenia, the degree to which the narrative, visual style and dominant affectivity of each film are interrelated and determined by each other is demonstrated.)
 * (Introduction Challenges the way Lacanian theory, as construed within film theory, has narrowed the field of possibilities of psychoanalytic approaches to cinema. Specifically, the question of affect is focused on, and how it may be traced through textual analysis. The author argues that affect has attracted little attention within psychoanalytic film theory because of the strong emphasis on the Lacanian psychoanalytic model, which revolves around the question of language and the gaze. Drawing on the writings of Andre Green, Nicolas, Abraham and Maria Torok as well as Raymond Bellour and Lacan, Vertigo, North by Northwest, and Psycho as components of a single filmic system in the light of 3 psychical structures: melancholia, mania and paranoia/schizophrenia, the degree to which the narrative, visual style and dominant affectivity of each film are interrelated and determined by each other is demonstrated.)
 * (Introduction Challenges the way Lacanian theory, as construed within film theory, has narrowed the field of possibilities of psychoanalytic approaches to cinema. Specifically, the question of affect is focused on, and how it may be traced through textual analysis. The author argues that affect has attracted little attention within psychoanalytic film theory because of the strong emphasis on the Lacanian psychoanalytic model, which revolves around the question of language and the gaze. Drawing on the writings of Andre Green, Nicolas, Abraham and Maria Torok as well as Raymond Bellour and Lacan, Vertigo, North by Northwest, and Psycho as components of a single filmic system in the light of 3 psychical structures: melancholia, mania and paranoia/schizophrenia, the degree to which the narrative, visual style and dominant affectivity of each film are interrelated and determined by each other is demonstrated.)
 * (Introduction Challenges the way Lacanian theory, as construed within film theory, has narrowed the field of possibilities of psychoanalytic approaches to cinema. Specifically, the question of affect is focused on, and how it may be traced through textual analysis. The author argues that affect has attracted little attention within psychoanalytic film theory because of the strong emphasis on the Lacanian psychoanalytic model, which revolves around the question of language and the gaze. Drawing on the writings of Andre Green, Nicolas, Abraham and Maria Torok as well as Raymond Bellour and Lacan, Vertigo, North by Northwest, and Psycho as components of a single filmic system in the light of 3 psychical structures: melancholia, mania and paranoia/schizophrenia, the degree to which the narrative, visual style and dominant affectivity of each film are interrelated and determined by each other is demonstrated.)
 * (Introduction Challenges the way Lacanian theory, as construed within film theory, has narrowed the field of possibilities of psychoanalytic approaches to cinema. Specifically, the question of affect is focused on, and how it may be traced through textual analysis. The author argues that affect has attracted little attention within psychoanalytic film theory because of the strong emphasis on the Lacanian psychoanalytic model, which revolves around the question of language and the gaze. Drawing on the writings of Andre Green, Nicolas, Abraham and Maria Torok as well as Raymond Bellour and Lacan, Vertigo, North by Northwest, and Psycho as components of a single filmic system in the light of 3 psychical structures: melancholia, mania and paranoia/schizophrenia, the degree to which the narrative, visual style and dominant affectivity of each film are interrelated and determined by each other is demonstrated.)
 * (Introduction Challenges the way Lacanian theory, as construed within film theory, has narrowed the field of possibilities of psychoanalytic approaches to cinema. Specifically, the question of affect is focused on, and how it may be traced through textual analysis. The author argues that affect has attracted little attention within psychoanalytic film theory because of the strong emphasis on the Lacanian psychoanalytic model, which revolves around the question of language and the gaze. Drawing on the writings of Andre Green, Nicolas, Abraham and Maria Torok as well as Raymond Bellour and Lacan, Vertigo, North by Northwest, and Psycho as components of a single filmic system in the light of 3 psychical structures: melancholia, mania and paranoia/schizophrenia, the degree to which the narrative, visual style and dominant affectivity of each film are interrelated and determined by each other is demonstrated.)

Periodicals about Psycho or touching on it

 * (Janet Leigh discusses the making of PSYCHO (1960) and the impact it had on her life.)
 * (An interview with screenwriter Joseph Stefano who discusses writing the screenplay for PSYCHO and his collaboration with Alfred Hitchcock.)
 * (Concentrates on the similarities and later divergence in the careers of Alfred Hitchcock and Michael Powell, referring in particular to PSYCHO and PEEPING TOM. Includes chart laying out, in parallel outline, the careers of both directors.)
 * (Argues that many of our empathetic responses to film characters can be spelt out in the alternative terms of emotional appraisal, illustrating his point by analysing the sinking car scene in Alfred Hitchcock's Psycho.)
 * (Detailed textual/psychoanalytic analysis of Hitchcock's "Psycho". Illustrated with frame enlargements.)
 * (Article about the concept of 'identification' with fictional characters in films, responding to Laura Mulvey's 'Visual Pleasure' article and the debates that followed its publication. Uses PSYCHO as an example.)
 * (Presents a Jungian perspective on the cinematic portrayal of the evolution of the serial killer, focusing on mythic aspects of the serial killer and representation of the archetype of the shadow. Films discussed include F. Lang's "M," A. Hitchcock's "Psycho," and J. Demme's "The Silence of the Lambs." It is suggested that the popularity of the serial killer genre reflects the need of the individual to find new images for the old concepts of good and evil.)
 * (Article looking back at PSYCHO, including extracts from original interview with Alfred Hitchcock, Janet Leigh and others.)
 * (A short discussion of the making of PSYCHO - focusing on the violent shower sequence, the character of Norman Bates and effects on audience.)
 * (Reviewed work(s): Psycho by Alfred Hitchcock)
 * (On the symbolism of names in PSYCHO, and on the shower scene.)
 * (Joseph Stephano confesses that at first glance the book 'Psycho' appeared to him to be unsuitable for a Hitchcock film. Hitchcock liked the alterations that Stephano made in the story and chose him to write the script for his film. Stephano affirms that Hitchcock had a fascination for the triangle setup of the smart man, the beautiful woman, and the smartass man. He notes that present-day Hollywood producers feel the need for controlling writers.)
 * (On the shower scene in PSYCHO and its cinematographic and musical symmetry.)
 * (This article examines the mother-child relationships in the films by Alfred Hitchcock, focusing on 'Psycho' and 'The Birds.' Topics addressed include matricide, as well as the psychological and sexual dynamics of mother-child relationships.)
 * (Soundtrack review for PSYCHO (1960) scored by Bernard Herrmann.)
 * (Compares and discusses both Alfred Hitchcock's PSYCHO and Michel Foucault's writings in the context of post war ideas of deinstitutionalisation and the 'overvaluing' of madness.)
 * (Janet Leigh talks about HALLOWEEN H20, PSYCHO and TOUCH OF EVIL)
 * (Discusses the similarities in the following three films: "Peeping Tom", "Lilith", "Psycho" which all explore abnormalities inherent in the main characters.)
 * ("Although the images in Alfred Hitchcock's Psycho--a Victorian mansion on a hill, a motel shower, a corpse in the cellar, a man in a dress and a wig--have been disinterred too often in "hommages" (not to mention the sequels), the original film still has a power to disturb. Critics frequently identify the film's power with Hitchcock's masterful use of the essential voyeurism of the cinema: Viewers participate in evil by secretly peeping at illicit scenes and then identifying with the illicit, even criminal, acts shown. The real reason that Psycho disturbs viewers, however, is not because of what it allows them secretly to watch but because of what it makes them confront--the terror of being secretly watched.")
 * (In a special supplement on Film and TV Music - on working with Hitchcock and particularly on PSYCHO.)
 * (A comparison of the work and personality of Hitchcock and Welles, noting the similarities in "Psycho" to "Touch of evil".)
 * (About the relationship of intertextual identity between The GRIFTERS and PSYCHO.)
 * (An article on the social causes of violence in American society as displayed in Alfred Hitchcock's films, in particular 'Psycho' and its 1998 remake.)
 * (The writer analyzes the interplay of taboo and transgression in three cold war-era films--Mervyn LeRoy's The Bad Seed, Kurt Neumann's The Fly, and Alfred Hitchcock's Psycho--drawing on the theories of Georges Bataille. She points out that in cold war America, the transgressive individual became equated with the communist who threatened to destroy America from within. She considers the characters of Rhoda in The Bad Seed, Andre and Helene in The Fly, and Marion and Norman Bates in Psycho. She reveals that Psycho's Norman Bates is the most frightening of these films' three cold war transgressors because he transgresses taboos without his conscious knowledge.)
 * (Exploration of the extent to which the film confirms Metz's remarks concerning the way a Hollywood film positions the spectator.)
 * (A discussion on the psychological impetuses behind the actions of the serial killers in recent horror films. With reference to: 'The Hitcher' and 'Henry: Portrait of a serial killer' amongst others.)
 * (interview with Hitchcock)
 * (Explores the nature and function of the 'wandering' camera, giving examples from the opening sequences of PSYCHO and CITIZEN KANE. It is often used in horror films to imply an unseen presence: HALLOWEEN, The SHINING.)
 * (Review of video release.)
 * (This article lists the ways in which Gus Van Sant's 1998 remake of Alfred Hitchcock's classic horror movie 'Psycho' is different from the original. Topics discussed include casting, dialogue changes, camera angles, sound, and pacing.)
 * (Study of inconsistencies in the time span of the film.)
 * (The ways in which Alfred Hitchcock's film 'Psycho' confounds the sense of understanding typically attached to seeing reflect the influence of surrealism on his films. The film detaches the signifier from the object it is intended to signify to undermine the viewer's assumption that what the viewer sees the viewer understands. Impersonations, shadows and rapid cut editing are used to heighten the sense that all human visual interpretation has a component of delusion and deception.)
 * (A retrospective look at the making of PSYCHO. In sidebars, briefly looks at the sequels, PSYCHO 2, PSYCHO III, PSYCHO IV: THE BEGINNING, PSYCHO (1998) and doomed weekly series BATES MOTEL.)
 * (A history of the murdered body and its investigation in film, using the shower scene in PSYCHO and the Zapruder film in JFK as examples. Part of an issue devoted to 'Murder in America'.)
 * (Examines The Art of Murder in Strangers On a Train, Dial M For Murder, Blackmail, and Psycho.)
 * (A meditation on the narrative and psychoanalytic trajectories traced in Hitchcock's PSYCHO.)
 * (A listing of the ten best shower scenes in feature films, including brief critiques, for each film.)
 * (Examines three 'monstrous' fictional characters: Victor Franeknstein in Mary Shelley's novel, Norman Bates in PSYCHO and Buffalo Bill in THE SILENCE OF THE LAMBS, and issues of gender.)
 * (Article about the making of PSYCHO.)
 * (Bernard Herrmann's score for PSYCHO has been selected as part of National Public Radio's 100 in the US, a collection of the most influential American musical compositions of the 20th century.)
 * (The experience of viewing and the viewing of experience in REAR WINDOW and PSYCHO.)
 * (A detailed account of the making, casting and filming of PSYCHO.)
 * (Hitchcock uses reflexivity to good effect in 'Psycho'(1960) by making the viewers actors in the on-screen drama. The direction tells the story first from Marion's point of view. The perspective shifts shortly before Marion's murder, but the true identity of the murderer is not revealed. Hitchcock encourages the audience's identification with Marion, and then with Norman Bates, but also slowly reveals to them a more realistic perspective. The audience is both participant and viewer in 'Psycho.')
 * (Selection of ten cameos)
 * (Though tame by today's standards, Alfred Hitchcock's Psycho has done more to advance the horror genre (slasher films in particular) than any other film of its time; however, the brilliance of Psycho does not lie in its abhorrent concept, but rather in the way that Hitchcock melds the obvious and the mysterious. Indeed, in one of the most revealing scenes, just one third of the way through the film, Hitchcock is outrageously obvious in his intentions; yet his artistry in lighting, camera angle, and mise-en-scene make it possible to hide in plain sight and create a world that is rife with duality.)
 * (Looks at the portrayal of psychiatrists in films especially The CABINET OF DR. CALIGARI, HOME OF THE BRAVE, PSYCHO and The IMMORAL MR. TEAS.)
 * (Examines Hitchcock's technique for inducing horror in viewers in three scenes in PSYCHO (shower scene, Mother killing Arbogast, Lila discovering Mother) which emphasize the break between PSYCHO and its cinematic predecessors.)
 * (Second part of an interview in which Joseph Stefano discusses PSYCHO and his other work.)
 * (Jack Sullivan, in an excerpt from his forthcoming book 'Hitchcock's Music', looks at the relationship between Bernard Herrmann and Alfred Hitchcock who stated that a third of the success of Psycho came from Herrmann's music for the film.)
 * (Analysis of the exploitation of the association of monster and transsexual/transvestite in films about serial killers, referring to the influence of the real-life case of Ed Gein. Reference is made to PSYCHO (1960) and SILENCE OF THE LAMBS.)
 * (Perkins discusses his career and long association with the "Psycho" series.)
 * (The marauding men who haunt serial killer movies terrify. Amy Taubin wants to know what these films mean and why we like them)
 * (Examines images of gender confusion and tranvestism in horror films, particularly THE SILENCE OF THE LAMBS and PSYCHO.)
 * (Explores performance in PSYCHO, concentrating on Anthony Perkins in the role of Norman Bates. In an issue on 'performance'.)
 * (Analyses the character of Salieri in "Amadeus" in comparison with Norman Bates in "Psycho".)
 * (Discusses the likelihood that Alfred Hitchcock did not shoot the shower scene in PSYCHO.)
 * (Dr. Raj Persaud, an expert in film psychology, discusses the psychology of ALIEN (1979), STAR WARS (1977), VERTIGO (1958), PSYCHO (1960).)
 * (History of the production and analysis.)
 * (Assessment of the reputation of the film and its place in the body of Alfred Hitchbook's work.)
 * (Analysis of the Bakersfield car lot scene and the prolonged look of the policeman.)
 * (On the music.)
 * (Second part of article on the music in the film.)
 * (Alfred Hitchcock's emphasizing that no one be allowed inside the theater after the screening of the movie 'Psycho' started improved discipline among the audience. His promotional trailers, along with his insistence on audience punctuality, enhanced appreciation of his films. Audience reaction to the horror in the film, while revealing the differences in the attitudes of men and women, also confuses gender roles.)
 * (The experience of viewing and the viewing of experience in REAR WINDOW and PSYCHO.)
 * (A detailed account of the making, casting and filming of PSYCHO.)
 * (Hitchcock uses reflexivity to good effect in 'Psycho'(1960) by making the viewers actors in the on-screen drama. The direction tells the story first from Marion's point of view. The perspective shifts shortly before Marion's murder, but the true identity of the murderer is not revealed. Hitchcock encourages the audience's identification with Marion, and then with Norman Bates, but also slowly reveals to them a more realistic perspective. The audience is both participant and viewer in 'Psycho.')
 * (Selection of ten cameos)
 * (Though tame by today's standards, Alfred Hitchcock's Psycho has done more to advance the horror genre (slasher films in particular) than any other film of its time; however, the brilliance of Psycho does not lie in its abhorrent concept, but rather in the way that Hitchcock melds the obvious and the mysterious. Indeed, in one of the most revealing scenes, just one third of the way through the film, Hitchcock is outrageously obvious in his intentions; yet his artistry in lighting, camera angle, and mise-en-scene make it possible to hide in plain sight and create a world that is rife with duality.)
 * (Looks at the portrayal of psychiatrists in films especially The CABINET OF DR. CALIGARI, HOME OF THE BRAVE, PSYCHO and The IMMORAL MR. TEAS.)
 * (Examines Hitchcock's technique for inducing horror in viewers in three scenes in PSYCHO (shower scene, Mother killing Arbogast, Lila discovering Mother) which emphasize the break between PSYCHO and its cinematic predecessors.)
 * (Second part of an interview in which Joseph Stefano discusses PSYCHO and his other work.)
 * (Jack Sullivan, in an excerpt from his forthcoming book 'Hitchcock's Music', looks at the relationship between Bernard Herrmann and Alfred Hitchcock who stated that a third of the success of Psycho came from Herrmann's music for the film.)
 * (Analysis of the exploitation of the association of monster and transsexual/transvestite in films about serial killers, referring to the influence of the real-life case of Ed Gein. Reference is made to PSYCHO (1960) and SILENCE OF THE LAMBS.)
 * (Perkins discusses his career and long association with the "Psycho" series.)
 * (The marauding men who haunt serial killer movies terrify. Amy Taubin wants to know what these films mean and why we like them)
 * (Examines images of gender confusion and tranvestism in horror films, particularly THE SILENCE OF THE LAMBS and PSYCHO.)
 * (Explores performance in PSYCHO, concentrating on Anthony Perkins in the role of Norman Bates. In an issue on 'performance'.)
 * (Analyses the character of Salieri in "Amadeus" in comparison with Norman Bates in "Psycho".)
 * (Discusses the likelihood that Alfred Hitchcock did not shoot the shower scene in PSYCHO.)
 * (Dr. Raj Persaud, an expert in film psychology, discusses the psychology of ALIEN (1979), STAR WARS (1977), VERTIGO (1958), PSYCHO (1960).)
 * (History of the production and analysis.)
 * (Assessment of the reputation of the film and its place in the body of Alfred Hitchbook's work.)
 * (Analysis of the Bakersfield car lot scene and the prolonged look of the policeman.)
 * (On the music.)
 * (Second part of article on the music in the film.)
 * (Alfred Hitchcock's emphasizing that no one be allowed inside the theater after the screening of the movie 'Psycho' started improved discipline among the audience. His promotional trailers, along with his insistence on audience punctuality, enhanced appreciation of his films. Audience reaction to the horror in the film, while revealing the differences in the attitudes of men and women, also confuses gender roles.)
 * (Analyses the character of Salieri in "Amadeus" in comparison with Norman Bates in "Psycho".)
 * (Discusses the likelihood that Alfred Hitchcock did not shoot the shower scene in PSYCHO.)
 * (Dr. Raj Persaud, an expert in film psychology, discusses the psychology of ALIEN (1979), STAR WARS (1977), VERTIGO (1958), PSYCHO (1960).)
 * (History of the production and analysis.)
 * (Assessment of the reputation of the film and its place in the body of Alfred Hitchbook's work.)
 * (Analysis of the Bakersfield car lot scene and the prolonged look of the policeman.)
 * (On the music.)
 * (Second part of article on the music in the film.)
 * (Alfred Hitchcock's emphasizing that no one be allowed inside the theater after the screening of the movie 'Psycho' started improved discipline among the audience. His promotional trailers, along with his insistence on audience punctuality, enhanced appreciation of his films. Audience reaction to the horror in the film, while revealing the differences in the attitudes of men and women, also confuses gender roles.)
 * (On the music.)
 * (Second part of article on the music in the film.)
 * (Alfred Hitchcock's emphasizing that no one be allowed inside the theater after the screening of the movie 'Psycho' started improved discipline among the audience. His promotional trailers, along with his insistence on audience punctuality, enhanced appreciation of his films. Audience reaction to the horror in the film, while revealing the differences in the attitudes of men and women, also confuses gender roles.)
 * (Alfred Hitchcock's emphasizing that no one be allowed inside the theater after the screening of the movie 'Psycho' started improved discipline among the audience. His promotional trailers, along with his insistence on audience punctuality, enhanced appreciation of his films. Audience reaction to the horror in the film, while revealing the differences in the attitudes of men and women, also confuses gender roles.)
 * (Alfred Hitchcock's emphasizing that no one be allowed inside the theater after the screening of the movie 'Psycho' started improved discipline among the audience. His promotional trailers, along with his insistence on audience punctuality, enhanced appreciation of his films. Audience reaction to the horror in the film, while revealing the differences in the attitudes of men and women, also confuses gender roles.)
 * (Alfred Hitchcock's emphasizing that no one be allowed inside the theater after the screening of the movie 'Psycho' started improved discipline among the audience. His promotional trailers, along with his insistence on audience punctuality, enhanced appreciation of his films. Audience reaction to the horror in the film, while revealing the differences in the attitudes of men and women, also confuses gender roles.)
 * (Alfred Hitchcock's emphasizing that no one be allowed inside the theater after the screening of the movie 'Psycho' started improved discipline among the audience. His promotional trailers, along with his insistence on audience punctuality, enhanced appreciation of his films. Audience reaction to the horror in the film, while revealing the differences in the attitudes of men and women, also confuses gender roles.)
 * (Alfred Hitchcock's emphasizing that no one be allowed inside the theater after the screening of the movie 'Psycho' started improved discipline among the audience. His promotional trailers, along with his insistence on audience punctuality, enhanced appreciation of his films. Audience reaction to the horror in the film, while revealing the differences in the attitudes of men and women, also confuses gender roles.)
 * (Alfred Hitchcock's emphasizing that no one be allowed inside the theater after the screening of the movie 'Psycho' started improved discipline among the audience. His promotional trailers, along with his insistence on audience punctuality, enhanced appreciation of his films. Audience reaction to the horror in the film, while revealing the differences in the attitudes of men and women, also confuses gender roles.)
 * (Alfred Hitchcock's emphasizing that no one be allowed inside the theater after the screening of the movie 'Psycho' started improved discipline among the audience. His promotional trailers, along with his insistence on audience punctuality, enhanced appreciation of his films. Audience reaction to the horror in the film, while revealing the differences in the attitudes of men and women, also confuses gender roles.)
 * (Alfred Hitchcock's emphasizing that no one be allowed inside the theater after the screening of the movie 'Psycho' started improved discipline among the audience. His promotional trailers, along with his insistence on audience punctuality, enhanced appreciation of his films. Audience reaction to the horror in the film, while revealing the differences in the attitudes of men and women, also confuses gender roles.)
 * (Alfred Hitchcock's emphasizing that no one be allowed inside the theater after the screening of the movie 'Psycho' started improved discipline among the audience. His promotional trailers, along with his insistence on audience punctuality, enhanced appreciation of his films. Audience reaction to the horror in the film, while revealing the differences in the attitudes of men and women, also confuses gender roles.)
 * (Alfred Hitchcock's emphasizing that no one be allowed inside the theater after the screening of the movie 'Psycho' started improved discipline among the audience. His promotional trailers, along with his insistence on audience punctuality, enhanced appreciation of his films. Audience reaction to the horror in the film, while revealing the differences in the attitudes of men and women, also confuses gender roles.)
 * (Alfred Hitchcock's emphasizing that no one be allowed inside the theater after the screening of the movie 'Psycho' started improved discipline among the audience. His promotional trailers, along with his insistence on audience punctuality, enhanced appreciation of his films. Audience reaction to the horror in the film, while revealing the differences in the attitudes of men and women, also confuses gender roles.)