Horror’s Pleasure of Distance

One of my favourite moments from Alfred Hitchcock’s Psycho (1960) is not a typical choice considering the film’s many infamous scenes. Rather than showers, murders and other more memorable images, I particularly love a relatively bland scene later on in the film. It has narrative development in its eerie punch line but has little else … Continue reading Horror’s Pleasure of Distance

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Sounds of The Birds (1963) – Alfred Hitchcock.

Few directors have had their relationship with music analysed as much as Alfred Hitchcock.  His natural ability to select the right composer to almost brand his films aurally has often meant that the musical scores have become synonymous with his filmmaking style even though they have been created by several different composers over the years.  … Continue reading Sounds of The Birds (1963) – Alfred Hitchcock.

Sounds of the City – Defining the Metropolis in Alfred Hitchcock’s Rear Window (1954).

In spite of being set in the most cramped of city-based fictional areas, Alfred Hitchcock's Rear Window (1954) successfully presents the bustling aesthetics of a whole metropolis while managing to retain an almost claustrophobic isolation.  In the film, Hitchcock presents a temporarily wheelchair-bound photographer who becomes obsessed with a neighbour. He suspects the unusual man … Continue reading Sounds of the City – Defining the Metropolis in Alfred Hitchcock’s Rear Window (1954).

Analysis of Sound and Music in Alfred Hitchcock’s Psycho (1960) – Part 4 (Conclusions)

Part 1. Part 2. Part 3.  Combining the Readings: Similarities, Contradictions and Cross-Over. "It's as if the film were pinpointing the very essence of the unfilmable: the entwined couple, monstrous, the two-backed beast of the primal scene, the impossible couple of body and voice." - Michel Chion (1999, p.149). While Murphy and Fenimore examine and … Continue reading Analysis of Sound and Music in Alfred Hitchcock’s Psycho (1960) – Part 4 (Conclusions)

Analysis of Sound and Music in Alfred Hitchcock’s Psycho (1960) – Part 3 (Acousmatic Concepts)

Part 1. Part 2. Emphasis on Acousmatic Concepts in Ross J. Fenimore's "Voices that Lie Within". "Psycho almost didn't happen.  This is a unique case of music literally saving a film." - Sullivan (2006, p.246). Like much literature around Psycho, Fenimore's "Voices That Lie Within" begins its argument with setting the scene. "Psycho begins with … Continue reading Analysis of Sound and Music in Alfred Hitchcock’s Psycho (1960) – Part 3 (Acousmatic Concepts)

Analysis of Sound and Music in Alfred Hitchcock’s Psycho (1960) – Part 2 (An Audiovisual Foreshadowing)

Part 1. Emphasis on Visual Cues in Scott Murphy's "An Audiovisual Foreshadowing in Psycho". "We can grasp in effect something which, already in nature, appropriates the gaze to the function to which it may be put in the symbolic relation in man." - Jacques Lacan (1977, p.105). Scott Murphy's "An Audiovisual Foreshadowing in Psycho" is … Continue reading Analysis of Sound and Music in Alfred Hitchcock’s Psycho (1960) – Part 2 (An Audiovisual Foreshadowing)

Analysis of Sound and Music in Alfred Hitchcock’s Psycho (1960) – Part 1

Sound and Music in Alfred Hitchcock's Psycho and its Different Readings. Introduction. "If Psycho had been intended as a serious picture, it would have been shown as a clinical case with no mystery or suspense.  The material would have been used as the documentation of the case history.  We've already mentioned that total plausibility and … Continue reading Analysis of Sound and Music in Alfred Hitchcock’s Psycho (1960) – Part 1