Structural Elements Of Narrative In Todorov's Psycho

An analysis of Psycho

In this essay, I will discuss how the structural elements of narrative with Tzvetan Todorov’s theory, the props and the POVs work together to direct audiences’ responses. Moreover, I will use Graeme Turner’s “meanings” to discuss one oppositional reading that I produce.

First of all, In Todorov’s theory, he believe there is a basic structural pattern to narratives, all narrative is a movement between two equilibriums, which can divided into equilibrium to Disequilibrium (Disruption: Something happen to disrupt that normality, Recognition of the disruption, Attempts to repair the disrurtion) to new equilibrium.

In the film Psycho, it start with Marion Crane and her underground lover Sam Loomis meeting in a cheap hotel

Furthermore, Turner suggest that there is no a core of meaning in a film which audience had to uncover, “meanings” are the consequence of an audience’s reading. Moreover, as David Morly suggest that “meanings” are affected by audience’s social formations such as class, gender, subculture, ethnicity, and occupation.

In the same way audiences back in 1960 can feel the homophobia in this film, I had read some different “meanings”. As a young adult in Hong Kong, I feel for Norman. Thoughout the movie, the setting of Norman house is the most depressing place, with a castle-like house on a hill and the dialog Norman said.

”... No one really runs away from anything. It's like a private trap that holds us in like a prison. ... I think that we're all in our private traps, clamped in them, and none of us can ever get out. We scratch and we claw, but only at the air, only at each other, and for all of it, we never budge an inch.”

I always related and compared Norman situation with the situation Hong Kong young generation facing, living in a trap-like environment with no escape, surrounded by darkness and