Psycho

Use of Camera and Mise-en-Scene in Psycho

Entering the scene, Norman is standing tall and in front of the light with a low angle mid shot on him. This acts in two ways, it shows that he is putting all his goodness behind him and it casts shadows behind Norman that make him appear larger and overbearing. At the same time as this, the Frame is split in two with one side light and the other dark; reflecting Norman’s mental state. As Norman addresses Marion with an order of ‘sit down’ (showing his dominance in the conversation) he moves into the darker side if the room and Marion takes up the light side, by doing this, Hitchcock is telling the audience subconsciously that they should be supporting Marion.

After that, when Marion enters the scene and joins Norman, they both sit down at the same time due to Norman watching her carefully and mimicking her actions. With Marion and Norman both pictured in the same mid shot, the audience can see the difference between how the two characters are depicted, with Marion’s light clothes and blonde hair contrasting with Norman’s dark clothes and dark hair creating a moody and brooding tone. 

By the characters' body language the viewer can tell who is the most confident of the two, with Marion sitting up straight and eating while talking yet Norman is hunched over with his hands clasped together looking very closed and not taking his eyes off Marion. With the positioning of the audience and objects in the room, Hitchcock is making it clear to the audience who they should be supporting. He does this by placing the camera physically closer to Marion and by having the only light source in the room sitting behind Marion's character and illuminated her, which contrasts with Norman's surroundings which are very dark and shadowy when there is a candle behind him which could be lit to help light up his character but isn't to show his mysterious and dark persona.

In the room, while the camera is switching mid shots between the two characters, the audience can see a variety of stuffed birds. By using the motif of these stuffed birds, Hitchcock has created a visual signifier to the audience. For example, Marion's character occupies a small section of the frame and shares the rest of the space with a low light (which sets a brooding tone throughout the room but helps to give a good light on Marion) and small taxidermy birds. Whereas Norman's character is viewed from a low camera angle is surrounded by larger birds - birds of prey which would feed on the smaller birds in the wild. This juxtaposition shares with the audience the belief that Norman is a predator and Marion is becoming prey. These birds are in normal positions and give they impression that they are currently just observing which reflects Norman's intrigue into Marion's character and how he has not made a decision yet about what to do with her.

When Norman is asked questions about himself, he opens up his body and begins to stroke one of the stuffed birds next to him. This shows that his confidence is growing and reveals the link between the predatory nature of the birds and himself. Furthermore, this is advanced at the moment when Marion reveals that she is in fact 'running away' from something, Norman leans forward which shows his interest was peaked and his confidence is growing in the conversation as he is beginning to hold the floor. By leaning forwards, Norman is taking up more space in his frame yet at the same time emphasising the space between the two characters; physically and characteristically.

Interestingly, when Marion asks about Mother and begins to criticise her and Norman's relationship the camera and moves to a very low angle shot looking up at Norman and containing an aggressive looking bird of prey in the background, in a stance as if it is ready to attack, this reflects Norman's agitation at Marion for the point of conversation that they are now talking about. Norman fills a lot of the frame which gives him the impression of looking bigger and this shows that he is closing the distance between him and Marion. 

As Marion begins to delve into his and his mothers relationship even more with a statement of 'maybe you should put her someplace', the camera moves to a close up of Norman with a background of the birds of prey. With the close up shot and the rant he proceeds to give, the audience can tell we have finally got an insight into his true nature and not a front that he has been giving to her for the rest of the conversation. During this close up, Norman does not blink which further adds to the unnatural and eerie feeling surrounding his character.

Then the camera begins to include cut in shots of Marion at a close up looking distressed and shocked at the new Norman, the close up represents her understanding of how the conversation is going and this matches with her epiphany that she needs to go back to Phoenix and own up for her mistakes. After she has made her mind up she stands and the camera shows a low angle shot of her, this shows how she has managed to regain control in the conversation after Norman had been creeping closer and closer, although behind her there is a crow positioned with its beak very close to her neck to show how Norman does still have some power and is dangerous. 

The scene ends with a high angle shot from Marion's point of view of Norman. From this perspective, we can see that Marion views Norman as childish and weak which works with his defeat in the conversation. Hitchcock has made sure the background behind Norman is very cluttered to reflect his mental state as this juxtaposes with the clear background placed behind Marion's character.