Body Language In Psycho

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Secondly, the basic scale of mainstream film productions is anthropomorphic. Thus, the body is to be gazed upon. As Mulvey says there is “a fascination with likeness and recognition” (836) of the form, which is the second of the presented author’s points; put in her words there is a “to-be-looked-at-ness” (837) prescribed to women. To elaborate, the aspect with evaluating such an implementation is that it contracts a woman`s role to a sexual level; and leaves scopophilia (the sexual excitement one gets from looking or being looked at, without the inclusion of genital areas, as studied by Freud) as a result. In the instance of Psycho, we are presented with numerous examples of Marion`s poorly dressed body, which culminates in the shower scene…show more content…
Perhaps within this conflict lie the implications of the title: Psycho – no definite sex is prescribed. Hitchcock does not want to make a difference between them, this is reflected on several levels within the picture. Another point Mulvey makes is that on the physicality of women. However, the counterpoint is made by Paglia when she talks about the impact body language makes on his narratives, we enter the worlds of Marion and Norman by seeing how they move, and how they act, when they think no one is watching; scenes like this are often accompanied with silence. Representations from the film are, for example, when we follow Marion on her run, in the car scenes, the surroundings turn progressively darker and the close ups tighter around her face throughout the film; the look is pointed in the other direction – that is, at us. The viewers once safe space is broken as we are presented with the thoughts inside her head, we must face the fact that we bare an Id as well, our desires are challenged in an (then) untypical way. Put in Freudian terms, this mood and penetration of the Hitchcockian universe is uncanny. The term describes seeing something familiar in an unfamiliar manner, especially when we are faced with the repetition of the same thing, as well as “the uncanny double” (9). Often, in Psycho, on instances when there is a medium shot, that is of the physique of Marion and Norman, there is a mirror behind her. To elaborate: Žižek writes in The Parallax View, if Marion`s world is that of “contemporary American everyday life … Norman`s world is it`s nocturnal reverse” (227). The self, Ego, truly comes to existence, once the ideas of the self are first broken and then reinforced (Lacan`s mirror theory of a child`s recognition, which is also used by Mulvey in her writings. The idea suggests that when a
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