psycho the impossible embodiment. three versions of the protagonist’s journey norman’s =...

PsychoPsychoThe impossible embodimentThe impossible embodiment

Three versions of the Three versions of the protagonist’s journeyprotagonist’s journey

Norman’s =Norman’s =

= Marion’s= Marion’s

LilaLila

(m)Other(m)Other

Fata

l Fa

tal

in-

in-

versio

versio

nn

Narrative and stylistic Narrative and stylistic formform

Tripartite structure Tripartite structure (essentially from (essentially from Marion’s, Norman’s Marion’s, Norman’s and Lila’s points of and Lila’s points of view) = the ‘golden view) = the ‘golden section’section’

Expressionistic use Expressionistic use of lighting, sets, of lighting, sets, montage and montage and castingcasting

Tawdry populist Tawdry populist thriller plot & devicesthriller plot & devices / / overtly high culture overtly high culture allusions and allusions and aestheticsaesthetics

Vertical v. horizontal Vertical v. horizontal compositioncomposition

Production design: Production design: Gothic/past vs. Gothic/past vs. modern/future in ‘flat’ modern/future in ‘flat’ black & white tonesblack & white tones

Narrative and stylistic Narrative and stylistic formform

DeathDeath SexualitySexuality Psychic drivesPsychic drives Search for authentic life / self-expressionSearch for authentic life / self-expression Animal symbols of passion and excessAnimal symbols of passion and excess Psycho-religious binaries of Dionysian v. Psycho-religious binaries of Dionysian v.

Apollonian drivesApollonian drives incarnation / embodimentincarnation / embodiment arms / handsarms / hands spiral / vortexspiral / vortex

Themes / motifsThemes / motifs

Supporting characters & Supporting characters & doppelgangersdoppelgangers

Sam - Sam - NormanNorman

Arbogast - Arbogast - Lila / SamLila / Sam

Cassidy - Cassidy - Norman / Norman / Mrs BatesMrs Bates

California CharlieCalifornia Charlie

Judge Tate - Judge Tate -

Psychiatrist -Psychiatrist -

Search for authentic life leading to Search for authentic life leading to the ‘death drive’: the impossible the ‘death drive’: the impossible

embodimentembodiment

From ‘I’ (eye) to ‘a’ (camera)From ‘I’ (eye) to ‘a’ (camera)

From ‘I’ (eye) – a From ‘I’ (eye) – a subject who has subject who has responsibility for responsibility for their actions (the their actions (the gaze as symbolic gaze as symbolic identification)identification)

to ‘a’ – an object; to ‘a’ – an object; an object[ive] an object[ive] observer without observer without the ‘stain’ of will or the ‘stain’ of will or desiredesire

From ‘I’ (eye) to ‘a’ (camera)From ‘I’ (eye) to ‘a’ (camera)

Before the viewer identifies with persons Before the viewer identifies with persons from a diegetic reality, he/she from a diegetic reality, he/she identifies identifies with him/herself as pure gaze – the abstract with him/herself as pure gaze – the abstract point which gazes on the screen.point which gazes on the screen.

This ideal point provides a pure form of This ideal point provides a pure form of ideology in so far as it pretends to float ideology in so far as it pretends to float freely in an empty space, not charged by freely in an empty space, not charged by any desire – as if the viewer were reduced any desire – as if the viewer were reduced to a kind of absolutely invisible , to a kind of absolutely invisible , disembodied witness to events which take disembodied witness to events which take place ‘by themselves’, irrespective of the place ‘by themselves’, irrespective of the presence of his or her gaze.presence of his or her gaze.

From ‘a’ (camera) to ‘I’ (eye)From ‘a’ (camera) to ‘I’ (eye)

the anxiety automatically arising in the the anxiety automatically arising in the viewer – a token of his/her solidarity with viewer – a token of his/her solidarity with Norman – suddenly reminds him or her Norman – suddenly reminds him or her that his/her desire is identical to that his/her desire is identical to Norman’sNorman’s

From ‘a’ (camera) to ‘I’ (eye)From ‘a’ (camera) to ‘I’ (eye)

At this moment, the At this moment, the viewer’s gaze is de-viewer’s gaze is de-idealised, its purity idealised, its purity blemished by a blemished by a pathological stain, and pathological stain, and what comes forth is the what comes forth is the desire that maintains it: desire that maintains it: the viewer is compelled to the viewer is compelled to assume that the scene he assume that the scene he witnesses is staged for his witnesses is staged for his eyes, that his / her gaze eyes, that his / her gaze was included from the was included from the very beginning.very beginning.

Hitchcock’s subversive strategy Hitchcock’s subversive strategy of the tainted gazeof the tainted gaze

By means of a reflexive inclusion of his/her By means of a reflexive inclusion of his/her own gaze, the viewer becomes aware of own gaze, the viewer becomes aware of how this gaze of his/hers is always-already how this gaze of his/hers is always-already partial, ‘ideological’, stigmatised by a partial, ‘ideological’, stigmatised by a ‘pathological’ desire.‘pathological’ desire.

Perversion as a socially ‘constructive’ Perversion as a socially ‘constructive’ attitude where one can indulge in illicit attitude where one can indulge in illicit drives, torture and kill for the protection of drives, torture and kill for the protection of law and order: the Law is split into Law as law and order: the Law is split into Law as ‘Ego-Ideal’ – symbolic order which ‘Ego-Ideal’ – symbolic order which regulates social life and maintains social regulates social life and maintains social peace – and its obscene, super-egotistical peace – and its obscene, super-egotistical reversereverse

Hitchcock’s subversive strategy Hitchcock’s subversive strategy of the tainted gazeof the tainted gaze

The deepest identification The deepest identification which ‘holds a community which ‘holds a community together’ is not so much together’ is not so much identification with the Law identification with the Law which regulates its ‘normal’ which regulates its ‘normal’ everyday circuit as, rather, everyday circuit as, rather, identification with the identification with the specific form of specific form of transgression of the Law, of transgression of the Law, of its suspensionits suspension (in (in psychoanalytic terms, with psychoanalytic terms, with the specific form of the specific form of enjoyment).enjoyment).

Southern white communities forgave Southern white communities forgave

minor transgressions but disowned minor transgressions but disowned

those who refused to take part in those who refused to take part in

KKK lynchingsKKK lynchings

Precisely when Hitchcock appears at Precisely when Hitchcock appears at his most conformist, praising the rule his most conformist, praising the rule of Law, the fundamental of Law, the fundamental identification with the ‘transgressive’ identification with the ‘transgressive’ mode of enjoyment which holds a mode of enjoyment which holds a community together – in short: the community together – in short: the stuff of which the ideological dream stuff of which the ideological dream is effectively made – is contaminated is effectively made – is contaminated beyond cure…beyond cure…

PsychoPsycho’s M’s Mööbius bandbius band

The film's Golden Mean structure The film's Golden Mean structure (the ratio of the first third to the last (the ratio of the first third to the last two thirds coinciding with that larger two thirds coinciding with that larger part’s ratio to the whole) contains a part’s ratio to the whole) contains a rupture at the death of Marion rupture at the death of Marion Crane…Crane… aa bb

[car; motel; policeman; [car; motel; policeman; road; office; money; road; office; money;

detective]detective]

marioNmarioNAmerican alienation: American alienation: financial insecurity, financial insecurity,

fear of police, fear of police, desperate pursuit of desperate pursuit of a piece of happiness a piece of happiness

- the HYSTERIA of - the HYSTERIA of everyday capitalist everyday capitalist

lifelife

Is the Protagonist’s Journey a Is the Protagonist’s Journey a fatal inversion of the American fatal inversion of the American

Dream?Dream?[villa /'haunted castle'; [villa /'haunted castle'; stuffed animals; stuffed animals; mummy; knife; false mummy; knife; false clothes]clothes]

NormanNormana PSYCHOTIC reverse: a PSYCHOTIC reverse: the nightmarish world the nightmarish world of pathological of pathological (mentally disturbed) (mentally disturbed) crimecrime

Or the passage from hysterical Or the passage from hysterical desire to psychotic drive?desire to psychotic drive?

The relationship between The relationship between these two worlds of these two worlds of American alienation and American alienation and pathological crime misses pathological crime misses the simple opposition of the simple opposition of surface & depth, reality & surface & depth, reality & fantasy – it only suits that fantasy – it only suits that of the two surfaces of the of the two surfaces of the MMööbius band: progress far bius band: progress far enough on one surface, enough on one surface, all of a sudden we are on all of a sudden we are on its reverse.its reverse.

Marion’s death as the zero-Marion’s death as the zero-pointpoint

The spiral first The spiral first entersenters the drain, then the drain, then exitsexits the eye, as if passing the eye, as if passing through the zero-through the zero-point of an eclipse of point of an eclipse of time – in sci-fi terms, time – in sci-fi terms, we ‘pass the doors we ‘pass the doors of time’ and enter of time’ and enter another temporal another temporal modalitymodality

The passage from Norman to The passage from Norman to Marion = the ‘regression’ from Marion = the ‘regression’ from

desiredesire to to drivedrivethe Name-of-the-Fatherthe Name-of-the-Father

Marion stands under the sign of the father – Marion stands under the sign of the father – that is the symbolic desire constituted by that is the symbolic desire constituted by the Name-of-the-Father: the hysterical the Name-of-the-Father: the hysterical feminine position addresses the Name-of-feminine position addresses the Name-of-the-Fatherthe-Father

the desire of the motherthe desire of the mother Norman is entrapped by the mother’s desire Norman is entrapped by the mother’s desire

not yet submitted to the paternal Law (and not yet submitted to the paternal Law (and as such not yet strictly a desire but a pre-as such not yet strictly a desire but a pre-symbolic drive): the psychotic clings to the symbolic drive): the psychotic clings to the mother’s desiremother’s desire

Marion’s Marion’s desiredesire as a signifier of as a signifier of the symbolic orderthe symbolic order

Marion’s desire to become a wife and Marion’s desire to become a wife and mother, to take on the Name-of-the-mother, to take on the Name-of-the-Father as Mrs Sam Loomis, gives her a Father as Mrs Sam Loomis, gives her a ‘subject position’ within the symbolic ‘subject position’ within the symbolic order of patriarchy, even while it places order of patriarchy, even while it places her in pursuit of the ‘lost object of her in pursuit of the ‘lost object of desire’: by definition, desire is always desire’: by definition, desire is always unsatisfied and drives the subject unsatisfied and drives the subject onwards from one signifier to another onwards from one signifier to another (‘a little piece of happiness’; $40,000; a (‘a little piece of happiness’; $40,000; a husband…)husband…)

Norman’s psychotic drive as Norman’s psychotic drive as alienation within the maternal alienation within the maternal

OtherOtherDrive is always-already satisfied: Drive is always-already satisfied:

contained within a closed circuit contained within a closed circuit around its object, it finds satisfaction in around its object, it finds satisfaction in its repeated failure to attain the object its repeated failure to attain the object – Norman, as the son of the (m)Other’s – Norman, as the son of the (m)Other’s incestuous desire, re-enacts the killing incestuous desire, re-enacts the killing of symbolic desire whenever he is of symbolic desire whenever he is attracted to a young woman who attracted to a young woman who symbolises ‘normal’ patriarchal desire.symbolises ‘normal’ patriarchal desire.

Norman’s psychotic drive as Norman’s psychotic drive as alienation within the maternal alienation within the maternal

OtherOtherNorman cannot take a ‘subject Norman cannot take a ‘subject

position’ with the Other because he position’ with the Other because he has not escaped the Mother’s has not escaped the Mother’s control. The ultimate function of the control. The ultimate function of the Law is to confine desire – not the Law is to confine desire – not the subject’s own, but the desire of subject’s own, but the desire of his/her (M)Otherhis/her (M)Other

PsychoPsycho’s two great murder ’s two great murder scenes = desire vs. drivescenes = desire vs. drive

Marion’s violent death comes as an Marion’s violent death comes as an absolute surprise, a shock with no absolute surprise, a shock with no foundation in the narrative line which foundation in the narrative line which abruptly cuts off its ‘normal’ abruptly cuts off its ‘normal’ deploymentdeployment

Shot in a very filmic way, its effect is Shot in a very filmic way, its effect is created by editing – one never sees the created by editing – one never sees the murderer or Marion’s whole body: the murderer or Marion’s whole body: the murder itself is dismembered into a murder itself is dismembered into a multitude of fragmentary close-ups multitude of fragmentary close-ups succeeding one another in a frenetic succeeding one another in a frenetic rhythm – as if the repeated strikes of rhythm – as if the repeated strikes of the knife have contaminated the reel the knife have contaminated the reel itself and torn up the continuous filmic itself and torn up the continuous filmic gaze (or its opposite: the murderous gaze (or its opposite: the murderous shadow stands in for the power of shadow stands in for the power of editing itself…)editing itself…)


Arbogast’s death surpasses the Arbogast’s death surpasses the shock of Marion’s ‘intrusion of the shock of Marion’s ‘intrusion of the Real’ by Hitchcock's presentation Real’ by Hitchcock's presentation of it as something of it as something expectedexpected……= we endure the most brutal shock we endure the most brutal shock

when we witness the exact when we witness the exact realisation of what we were looking realisation of what we were looking

forward to: the most terrifying forward to: the most terrifying disturbance of our sense of reality disturbance of our sense of reality

which wholly upsets its symbolic which wholly upsets its symbolic structure – the smooth running of structure – the smooth running of automatonautomaton – takes place when a – takes place when a

structural necessity simply realises structural necessity simply realises itself with blind automatism. itself with blind automatism.


Behind its apparent simplicity, Behind its apparent simplicity, Arbogast’s death relies on a refined Arbogast’s death relies on a refined dialectic of expected and dialectic of expected and unexpected – in short, of (the unexpected – in short, of (the viewer’s) desire.viewer’s) desire.

What we have here is the ‘split What we have here is the ‘split subject’: ‘I know very well that X subject’: ‘I know very well that X will happen (Arbogast will be will happen (Arbogast will be murdered), yet I don’t fully believe murdered), yet I don’t fully believe it (so I’m none the less surprised it (so I’m none the less surprised when he is)’when he is)’

Where does the desire reside, in Where does the desire reside, in the the knowledgeknowledge or the or the beliefbelief??

Psycho’s two great murder Psycho’s two great murder scenes = desire vs. drivescenes = desire vs. drive

Contrary to the obvious answer (in Contrary to the obvious answer (in the belief – ‘I know that X will the belief – ‘I know that X will happen, but I refuse to believe it happen, but I refuse to believe it since it runs against my desire…’), since it runs against my desire…’), psychoanalytically it is in the psychoanalytically it is in the knowledge. knowledge.


The horrifying reality one refuses to ‘believe The horrifying reality one refuses to ‘believe in’, to accept, to integrate into one’s in’, to accept, to integrate into one’s symbolic universe, is none other than the symbolic universe, is none other than the Real of one’s desire, and the unconscious Real of one’s desire, and the unconscious belief (that X could not happen) is ultimately belief (that X could not happen) is ultimately a defence against the Real of desire: as a defence against the Real of desire: as viewers of Psycho, we desire the death of viewers of Psycho, we desire the death of Arbogast, and the function of our belief that Arbogast, and the function of our belief that he will not be attacked by the ‘mother’-figure he will not be attacked by the ‘mother’-figure is precisely to enable us to avoid confronting is precisely to enable us to avoid confronting the Real of our desire.the Real of our desire.


And what Freud calls ‘drive’ – in And what Freud calls ‘drive’ – in opposition to the split nature of opposition to the split nature of desire – is precisely the absolute desire – is precisely the absolute ‘closure’ where what actually ‘closure’ where what actually happens corresponds perfectly to happens corresponds perfectly to what one knows exactly will what one knows exactly will happen…happen…

Psycho Psycho takes desire vs. drive takes desire vs. drive beyond an abstract conceptbeyond an abstract concept

The first murder takes place in a motel The first murder takes place in a motel epitomising anonymous American epitomising anonymous American modernitymodernity

The second takes place in a Gothic house The second takes place in a Gothic house epitomising the American epitomising the American traditiontradition

Psycho Psycho takes desire vs. drive takes desire vs. drive beyond an abstract conceptbeyond an abstract concept

This opposition – symbolised This opposition – symbolised throughout the film’s contrapuntal throughout the film’s contrapuntal visual design of horizontal and visual design of horizontal and vertical lines – introduces more than vertical lines – introduces more than an unexpected historical tension an unexpected historical tension between tradition and modernity…between tradition and modernity…

Psycho Psycho takes its opposition of takes its opposition of desire and drive beyond an desire and drive beyond an

abstract conceptabstract concept It also locates Norman Bates’ notorious It also locates Norman Bates’ notorious

psychotic split psychotic split spatiallyspatially as a kind of as a kind of impossible ‘mediator’ between tradition impossible ‘mediator’ between tradition and modernity, condemned to circulate and modernity, condemned to circulate endlessly between the two spacesendlessly between the two spaces

Norman’s split thus epitomises the Norman’s split thus epitomises the inability of American ideology to locate inability of American ideology to locate the experience of the present, actual the experience of the present, actual society within a context of historical society within a context of historical tradition, to enable a symbolic tradition, to enable a symbolic mediation between the two levels.mediation between the two levels.

Psycho Psycho takes its opposition of takes its opposition of desire and drive beyond an desire and drive beyond an

abstract conceptabstract conceptConsequentially, the very duality of Consequentially, the very duality of

desire and drive can be conceived as desire and drive can be conceived as a libidinal metaphor of the duality of a libidinal metaphor of the duality of modern and traditional society:modern and traditional society:The matrix of traditional society is that of The matrix of traditional society is that of

a ‘drive’, circulating around the Same, a ‘drive’, circulating around the Same, repeating and reproducing the repeating and reproducing the status quostatus quo

Modern society is characterised by linear Modern society is characterised by linear progress, embodied in the metonymic progress, embodied in the metonymic object-cause of desire that is object-cause of desire that is moneymoney (e.g. (e.g. $40,000) $40,000)

PsychoPsycho’s hybrid’s hybrid narrative: narrative: sticking together two contrary sticking together two contrary

partspartsM A morality play in A morality play in

which, giving way to which, giving way to temptation, the heroine temptation, the heroine enters the path of enters the path of damnation, only to be damnation, only to be cured by the encounter cured by the encounter with Norman, who with Norman, who confronts her with the confronts her with the abyss that awaits her – abyss that awaits her – seeing a mirror-image seeing a mirror-image of her own future, she of her own future, she soberly decides to soberly decides to return to normal life, return to normal life, the shower scene’s the shower scene’s purification providing purification providing her narrative’s closure.her narrative’s closure.

N A traditional unravelling A traditional unravelling of the mystery of a of the mystery of a pathological serial pathological serial killer.killer.

Marion’s murder occurs Marion’s murder occurs in an in an intervalinterval between between the two narrative parts: the two narrative parts: it plays a joke on the it plays a joke on the ideological ideological presupposition that presupposition that once the subject really once the subject really ‘makes up his/her ‘makes up his/her mind’, the carrying out mind’, the carrying out of his/her inner decision of his/her inner decision in social reality will in social reality will automatically follow…automatically follow…

PsychoPsycho’s hybrid’s hybrid narrative: narrative: sticking together two contrary sticking together two contrary

partsparts The entire subversive effect of The entire subversive effect of PsychoPsycho hinges on hinges on

putting together these two inconsistent pieces – putting together these two inconsistent pieces – mockingly reversing Aristophanes’ myth of ideal mockingly reversing Aristophanes’ myth of ideal love from Plato’s love from Plato’s SymposiumSymposium, that men and , that men and women are all split halves of an idealised women are all split halves of an idealised androgynous whole.androgynous whole.

Taken alone, Taken alone, PsychoPsycho’s parts are consistent and ’s parts are consistent and harmonious – harmonious – it is their fusion into a larger Whole it is their fusion into a larger Whole which makes them unnaturalwhich makes them unnatural

In contrast to the abrupt ending of Marion’s story, In contrast to the abrupt ending of Marion’s story, the second part seems to accord perfectly with the second part seems to accord perfectly with the rules of ‘narrative closure’: at the end, the rules of ‘narrative closure’: at the end, everything is explained, put in its proper place… everything is explained, put in its proper place… Yet on a closer look, the denouement proves far Yet on a closer look, the denouement proves far more ambiguous.more ambiguous.

PsychoPsycho’s androgynous’s androgynous narrative narrative whole: the story of a Voice in search whole: the story of a Voice in search

of its bearerof its bearerHow can film express the How can film express the absenceabsence of of

embodiment – the presence of a embodiment – the presence of a subject in the absence of a physical subject in the absence of a physical being?being?

Ch.7Ch.7


of its bearerof its bearer PsychoPsycho ends with the ends with the

moment of moment of ‘embodiment’ when we ‘embodiment’ when we finally behold the body finally behold the body in which the Voice in which the Voice originates – originates – traditionally a moment traditionally a moment that should demystify that should demystify the terrifying phantom-the terrifying phantom-like Voice and dispel its like Voice and dispel its power by enabling us power by enabling us (the viewers) to (the viewers) to identifyidentify with its bearer…with its bearer…

This reversal whereby the This reversal whereby the unfathomable Phantom unfathomable Phantom assumes shape and body – assumes shape and body – reduced to a common reduced to a common measure – is not limited to measure – is not limited to horror movies (horror movies (The Wizard of OzThe Wizard of Oz))


of its bearerof its bearer While While PsychoPsycho also also

‘embodies’ the Voice, ‘embodies’ the Voice, the effect of it here is the effect of it here is the exact opposite of the exact opposite of ‘gentrification’, which ‘gentrification’, which makes possible our – makes possible our – the viewers’ – the viewers’ – identification: it is only identification: it is only now that we confront an now that we confront an ‘absolute Otherness’ ‘absolute Otherness’ which precludes which precludes identification. The Voice identification. The Voice has attached itself to has attached itself to the wrong body…the wrong body…

What we get is a true What we get is a true zombie, a pure creature zombie, a pure creature of the Superego, totally of the Superego, totally powerless in itself powerless in itself (‘wouldn’t hurt a fly’), (‘wouldn’t hurt a fly’), yet for that very reason yet for that very reason all the more uncannyall the more uncanny


of its bearerof its bearer The crucial feature of The crucial feature of

PsychoPsycho’s allegorical function ’s allegorical function is that at this precise moment is that at this precise moment when, finally, the Voice finds when, finally, the Voice finds its body, Norman – in the its body, Norman – in the penultimate shot of the film penultimate shot of the film immediately preceding ‘The immediately preceding ‘The End’ – raises his gaze and End’ – raises his gaze and looks directly into the camera looks directly into the camera (i.e. into us, the viewers) with (i.e. into us, the viewers) with a mocking expression which a mocking expression which displays his awareness of our displays his awareness of our complicity:complicity:


of its bearerof its bearer= The reversal of our gaze from The reversal of our gaze from

‘I’ (the viewing subject’s ‘I’ (the viewing subject’s neutral gaze of the Ego-Ideal) neutral gaze of the Ego-Ideal) to to a a (an object of the Other’s (an object of the Other’s gaze). We look for the ‘secret gaze). We look for the ‘secret behind the curtain’ (who is behind the curtain’ (who is the shadow which pulls off the shadow which pulls off the curtain and slaughters the curtain and slaughters Marion?), and what we obtain Marion?), and what we obtain at the end is a paradox: we at the end is a paradox: we always-already partake in the always-already partake in the absolute Otherness which absolute Otherness which returns the gaze. returns the gaze.

Pat Hitchcock’s character sees Cassidy’s ‘wad Pat Hitchcock’s character sees Cassidy’s ‘wad of cash’ in the real estate office and her of cash’ in the real estate office and her reaction makes it into something more than it reaction makes it into something more than it is; something obscene. Normally the ‘eye’ is; something obscene. Normally the ‘eye’ sees and integrates what it sees into a logical sees and integrates what it sees into a logical sense of reality: the Symbolic Order. But if sense of reality: the Symbolic Order. But if some some thingthing cannot be integrated in that way cannot be integrated in that way it leaves a stainit leaves a stain

A triumph of the gaze over the A triumph of the gaze over the eyeeye

The transfixed gaze isolates a stain of the The transfixed gaze isolates a stain of the Real, a detail which ‘sticks out’ from the Real, a detail which ‘sticks out’ from the frame of symbolic reality – a traumatic frame of symbolic reality – a traumatic surplus of the Real over the Symbolicsurplus of the Real over the Symbolic; yet ; yet the crucial detail of these scenes is that this the crucial detail of these scenes is that this detail has no substance in itself – it is detail has no substance in itself – it is ‘substantiated’, caused, created by the ‘substantiated’, caused, created by the transfixed gaze itself.transfixed gaze itself.


Norman’s final mocking gaze turns Norman’s final mocking gaze turns usus into into a stain of the Real, sticking out from the a stain of the Real, sticking out from the frame of symbolic reality – the diegetic frame of symbolic reality – the diegetic reality that operates reality that operates within within a film – as a film – as creatures of his perversion: we are the creatures of his perversion: we are the Thing he/she desires but cannot have…Thing he/she desires but cannot have…


The clean white-tiled…bathroom The clean white-tiled…bathroom [is part] of the [subsequent] [is part] of the [subsequent] ritual, with the mother’s voice ritual, with the mother’s voice standing by, saying: “If every rule standing by, saying: “If every rule of health is complied with, then of health is complied with, then you can enjoy life.”you can enjoy life.”

Margaret Mead in Margaret Mead in Male and Female Male and Female (1949) links the mother’s voice with (1949) links the mother’s voice with

toilet training:toilet training:

Unable to separate from the (m)Other, Unable to separate from the (m)Other, Norman fails to integrate into the Symbolic Norman fails to integrate into the Symbolic Order as a whole subject, an I (eye) whose Order as a whole subject, an I (eye) whose truth can, like Marion’s, be seen and truth can, like Marion’s, be seen and understood through others (her understood through others (her conversation with Norman releases her from conversation with Norman releases her from her hysterical trap of desire).her hysterical trap of desire).

Dominated by the Voice of the (m)Other, Dominated by the Voice of the (m)Other, Norman can only associate pleasure with Norman can only associate pleasure with filth and repression, killing automaton-like filth and repression, killing automaton-like the Things he loves.the Things he loves.

Lila confronts an abject Lila confronts an abject embodiment of the (m)Otherembodiment of the (m)Other

Bill Schaffer, ‘Cutting The Bill Schaffer, ‘Cutting The Flow: Thinking Psycho’, April Flow: Thinking Psycho’, April

20002000A suspenseful sequence can remain A suspenseful sequence can remain

suspenseful even when I have seen it suspenseful even when I have seen it before, even if I know all too well before, even if I know all too well what is about to happen and when. what is about to happen and when. ……


20002000What remains indeterminate even What remains indeterminate even

when the narrative outcome is certain, when the narrative outcome is certain, what may have changed in the interim what may have changed in the interim since my first viewing and which may since my first viewing and which may now be ready to reveal hitherto now be ready to reveal hitherto unknown dimensions, is not something unknown dimensions, is not something in the film itself considered as an object in the film itself considered as an object kept at a distance, it is the film in me, kept at a distance, it is the film in me, as it lives in me. Ultimately, it is myself. as it lives in me. Ultimately, it is myself.


20002000What I really hope / fear may What I really hope / fear may

emerge, at any instant whatever, is emerge, at any instant whatever, is an image of my own secret body, an an image of my own secret body, an image of my fate, the body that is image of my fate, the body that is seen by time but does not appear in seen by time but does not appear in space: the virtual body which space: the virtual body which expresses me as pure possibility.expresses me as pure possibility.


20002000Watching a Hitchcock film we are Watching a Hitchcock film we are

manipulated in a way that brings us manipulated in a way that brings us to the threshold of an experience to the threshold of an experience that cannot be manipulated, neither that cannot be manipulated, neither by director nor by viewer, a moment by director nor by viewer, a moment of 'real' affective risk …of 'real' affective risk …


20002000Thus the suspense in Hitchcock turns Thus the suspense in Hitchcock turns

not only on the violent moment of not only on the violent moment of convergence between opposed forces convergence between opposed forces (already mastered by D.W. Griffith), but (already mastered by D.W. Griffith), but on the possibility that this will also on the possibility that this will also function as a moment of reversal in function as a moment of reversal in which all of the characters change their which all of the characters change their relation to each other – and therefore relation to each other – and therefore force us to reconsider our relation to force us to reconsider our relation to ourselves.ourselves.

psycho the impossible embodiment. three versions of the protagonist’s journey norman’s =...

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