Friday, 25 February 2011

Cloverfield 2008 | Matt Reeves!Cloverfield_poster.jpg
Fig  1 | 'Cloverfield' Poster
2008 saw a new envisioning of the verisimilitude horrors genre in Matt Reeves directed feature Cloverfield, which like ‘The Blair Witch Project’ directed by Daniel Myrick used the theory of Handheld Amateur Video. The difference however is the creature although never actually seen fully is present and known in appearance unlike the Blair Witch of its predecessor. For this reason the film has been controversial in debate to it success as a horror film. In this review I look at the reason for it failure as a horror but not as a movie as the imagery present quite easily suggest the affects of verisimilitude can be used more expansively in the world of film and in turn a more successful ideology to follow to create great movies.
The synopsis of the film revolves around Rob Hawkins whom arrives home to find a farewell party waiting for him. Yet as issue with the woman he loves result in her leaving, the world around them is terrorized by an unknown entity which (like its predecessors Godzilla and King Kong) begins to attack Manhattan.  Rob now faces this creature as he attempts to cross Lower Manhattan to get to his love. 

Fig 2 | The Army Attacking The Monster
The film storyline really bring down the film as a horror and in no way can connect the viewers in terms of interaction. This is because it part take in natural cycle of monster movies; In turn ‘Most horror and monster stories follow a simple format: "What if [insert worst thing you can imagine]...?" - Sam Emerson.  Nevertheless from the perspective of a sci-fi thriller the imagery is unnatural in a sense to the common monster movie and suggests that verisimilitude video capture is the way forward for the genre. In Reeves case the film follows a basic principle of a damsel-in-distress as the hero (Rob) attempts to reach her in aid while a creature terrorise the city around them.  The picture for this reason is more queasy-cam than its predecessor ‘Blair Witch’ and yet this usage presets a more relatable response to how we would act as viewer in a situation of catastrophe.  In these terms the erratic movement is a bonus allowing us to feel the nausea of being under attack and relatable. Moreover the strongest scene of this notion is when the alien arachnids attack the group in the subway. For a view that seen is making the audience ask for a sick bag and yet the plot is more relatable in away when they attack Hud (The Cameraman in the picture) we find it hard to not lean back into our chairs. Therefore the usage of verisimilitude camera theory works to the advantage of a sci-fi thriller instead of a horror.
Fig 3 | One Of Many - A Glimpse Of The Monster
This is down to more obviously the use a CGI as the film loses the value of belief as we see the part of the creature for the first time. In turn the use of handheld camera is a representation which has the effect of make us believes the story is true and yet with the introduction of CGI the film is no longer of that calibre and appears false due the inconsistency between animation and reality. Furthermore compared Blair Witch and the 2009 epic directed by Oren Peli ‘Paranormal Activity’  it is to see that Cloverfield lack the natural fulfilment  of the ‘fear of the unknown’ that these other to partake in.  Still it’s ability in the sci-fi genre is riveting and the subtle imagery of creature toys with us wanting to know more about what it looks like; ‘deploying its special effects well and never breaking the illusion that it is all happening as we see it.’ – Roger Edbert. Therefore keeping us on our toes to wondering where it will strike next. It strongest representation can be a choice of the scene where the remaining characters survive a helicopter crash in central parks and as Hud is filming as the creature appears above him. Moreover another scene representing such point is when subtle scuttling noise can be heard and as they turn the night vision on the camera the vision of the  alien arachnids are feet away sends a chilling figure down your spine
Fig 4 | The First Sight Of The Creature

Another view point however is to look at the monster genre as a whole and the similarities that all these feature have – i.e. a hidden message. In these terms this make us question ‘Is this attack so terrifying because it has obvious shades of 9/11’ - Olly Richards . The answer is no doubt a yes as the comparisons with of monster movies suggest just that.  For instance the 1954 interpretation of Godzilla evidently speaks metaphorically on the Japanese view USA and the destruction they caused in Hiroshima. Therefore in conclusion Reeves movie is simple a film intent on suggesting the horror of terrorism reciprocate the cloud effect of the falling of the towers as well as the tube bombing of 7/7 which we were unaware of until the last second. In turn the camera becomes a vision into the spectators of those days and the awful imagery in presented of death. Nevertheless the film therefore is horrific in the sense of implication more than verisimilitude.
Fig 5 | The Head Of The Statue Of Liberty Lay In The Street

In terms of Cloverfield I believe it to be an adaptation in essence of to theory creating a hybrid and therefore importance to viewer’s thoughts and perceptions on a given matter. In turn the film isn’t like that of Blair Witch as the special affect counteracts the believability of the feature as well as the ideology of a monster feels ludicrous in today’s world compared with the it sister of that same year Quarantine which depict the ideology of bio-chemicals and the enhancement of rabies which turns us into zombie more or less and in turn becoming a more frightening notion. However the success of this film is the horror is a relatable metaphor to the rise of terrorist acts and the destruction it cause to it surrounding. Moreover the film show destruction of friends and family very much like the bombing and 9/11. In turn Reeves’ monster feature works probably the best out of all monster movies as it suggest to the viewer how we would have seen the horrors of the trade tower through eyes of bystander.
Fig 6 | Mind Your Head The Creature Looks Down At Hud

List Of Illustrations

Fig 1  Reeves, Matt (2008) Cloverfield
[Film Poster] From: Cloverfield

Fig 2 Reeves, Matt (2008) The Army Attacking The Monster
[Film Still] From: Cloverfield
Fig 3  Reeves, Matt (2008) ) One Of Many - A Glimpse Of The Monster
[Film Still] From: Cloverfield

Fig 4  Reeves, Matt (2008) The First Sight Of The Creature
[Film Still] From: Cloverfield

Fig 5  Reeves, Matt (2008) The Head Of The Statue Of Liberty Lay In The Street
[Film Still] From: Cloverfield

Fig 6  Reeves, Matt (2008) Matt - Mind Your Head The Creature Looks Down At Hud
[Film Still] From: Cloverfield

Emerson, Sam. Cloverfield
 (Accessed on 21.02.11)

Thursday, 24 February 2011

Blair Witch Project 1999| Daniel Myrick, Eduardo Sánchez
Fig 1 | 'The Blair Witch Project' Film Poster

The Blair in turn was the first of its kind. This 1999 depiction by directors Daniel Myrick and Eduardo Sánchez focuses on audience deception and the usage of such a tool in a movie to frighten and instil terror like never before from a horror genre. As for the film industry the theory has become a well used assets in some of the best shot feature in the 21st century.
Fig 2 | Burkittsville - Where The Legend Begins

The synopses is that of a young teenage group whom for their film studies set about discovering the legend of the Blair Witch in the small town Burkittesville. But as they find them seem delved in to the woods of this so called myth things begin to happen and the insanity kicks in as they inevitable go to their doom.
Fig 3 | Heather  - The Annoying Character Throughout

The film throughout is shot via two cameras for this reason the motion of the camera apply and nauseating undertone that affects the bystanders watching. Nevertheless this feature is a key element in the movie; bring the feeling of the characters literally in to the pit of our stomach. In this case the directs use their knowledge of camera movement to gain a physical effect from the body of it viewers and for this reason makes our emotion towards the feature more relatable. In these terms the acknowledgement of the handheld cameras; is metaphorically suggesting the sick feeling of being lost and frighten which we feel – especially as children – when we have been separated.  But this application is a secondary notion of engagement to the actually use of inferior camera technology as it supplies the viewer with the sense of verisimilitude. For the viewer ‘the handheld camerawork - on both videotape and film - creates a real in-your-face feel that extends the mounting anxieties experienced by the characters to the audience.’ – Ali Barclay.  It usage without doubt instils fear as the film becomes less of a film and more or an actual account of the demise of three students. For the industry at the time this was a revolution in horror and without doubt a new way to take the horror movie into the future. This is due that realistic edge and the message that in impale to the back of your mind. As for the viewer of its 1999 showing the film was advertised as much as a real footage and of the evidence surrounding the disappearance moreover supplying the audience with the fake knowledge of a mythical being i.e. the Blair Witch being as real as the person they’re are sat next to. In conclusion the reason it became successful. The film itself is quite generic in a sense to most horror movies of a stalk that plays with the sanity of its victims before getting the best of them later on.  For Myrick and Sánchez the film is quite easily the scare tactic as a whole making the audience scarred enough to leave the cinema or go on their weekend camping trip. Like previously stated the usage of the everyday camcorder is a relatable and therefore like ‘Reservoir Dogs’ and interaction tool to it audience. This notion is quite evident in the film as the one of the young lads state ‘I see why you always recording...because through that lens it like another reality’. To the victims that are so but to the viewer it is very much the opposite as we engage ourselves as that persona due to the jitters and bumps. In extension it is why we find ourselves instinctively hating the girl throughout as if we’re her conscience saying ‘Hey bimbo, your lost their some weird figures dangling from trees back there and a 3 bloody pile of stones surrounding each flank of the tent, so stop filming and being a little brat and let’s find a way out .
Fig 4 | The Mysterious Symbol
Therefore the characters are as vital to our viewing of the film as well as our interaction with it. Interestingly enough the directors used method acting and throwing them into the wild not suggesting what will happen furthermore the on-camera filmmakers, Heather, Mike and Josh, are played by Heather Donahue, Michael Williams and Joshua Leonard with a warts-and-all improvised verisimilitude, no doubt heightened by the conditions under which they worked.’ - JANET MASLIN. Supplying very natural looking horror to their emotion of being in danger, moreover making it a more believable story and again more frightening to its viewers .
Fig 5 | Heather - The Final Goodbye

In turn I believe this because we as viewers are anticipating and for this reason having a real big emotion overload of dramatic irony. As we engage with the fact that something is going to happen if you don’t move. For this reason the usage of a handheld over the classic technology used in a filming become strongest as the interaction become more noticeable and the viewer has a sense of I am in danger. For Myrick and Sánchez their strongest element is the Witch itself.
Fig 6 | Matt - Frustrated And Letting The Fear Get To Him

As for the viewer that the anticipatory object, which brings fear to us and the fact that with each freak occurrences  we are waiting in fear for this enigma to jump out and attack. In turn the movie gets its chills without resorting to special effects (which it couldn't have afforded anyway) or anything in the way of an explanation. It's strong on disturbing throwaways (stick-figure dolls, child-sized handprints, something unidentifiably bloody) and there's a gathering sense of panic - realising the woods don't conform to her precious map – Empire Magazine  because even till the end we are yearning for an answer to what is this being.  All in all the directors used the generic fear of the unknown yet compared to film after this their usage is stricter than it off-spring in the world of Hollywood. In turn the audience are captivated by wanting to know like that with topics of ghost or aliens. Therefore as a film we wanted know about such creature. In turn, is it a mythical being and in turn are their more of these around the world or in our neighbourhood? Is it not just a murdering psychopath or moreover is it a serial killer. The idea that we don’t know is a haunting of the psyche and therefore keeps it viewer up at night think about their own safety. The argument is quite strongly enhanced by the feature’ Paranormal Activity’ directed by Oren Peli which focuses on the supernatural which again depicts it’s victims in torment with a being we don’t see or know what it appearance is.
Fig 7 | The Finale - The Hand Prints Of Children Painted Across The Walls

For this reason the ‘The Blair Witch’ was the eye opener for many directors in the horror film as the usage of their technique is best suit for such genre. Also the directors have quite noticeable used the tool of interaction and applied the generic fear the human population have of the unknown and yet supplied it in the way of method acting and that of a theory in which film is based. In metaphorical term the film is like well maintained machine having all the parts necessary to produce the strongest outcome. Also boldly stating the fact that it’s isn’t a necessity to have a big budget when the simple fact is the correct instruments for the focused ideology can be more effective than the best technology out on the market.
Fig 8 | The Legend Is True - Matt Is In the Corner As Heather Meets Her Fate
List Of Illustrations

Fig 1  Myrick, Daniel (1999) 'The Blair Witch Project' Film Poster
[Film Poster] From: The Blair Witch Project

Fig 2 Myrick, Daniel (1999) Burkittsville - Where The Legend Begins
[Film Still] From: The Blair Witch Project
Fig 3 Myrick, Daniel (1999) Heather  - The Annoying Character Throughout
[Film Still] From: The Blair Witch Project

Fig 4 Myrick, Daniel (1999) The Mysterious Symbol
[Film Still] From: The Blair Witch Project

Fig 5 Myrick, Daniel (1999) Heather - The Final Goodbye
[Film Still] From: The Blair Witch Project

Fig 6Myrick, Daniel (1999) Matt - Frustrated And Letting The Fear Get To Him
[Film Still] From: The Blair Witch Project
Fig 7Myrick, Daniel (1999) Awaiting Instruction - The Finale - The Hand Prints Of Children Painted Across The Walls
[Film Still] From: The Blair Witch Project

Fig 8 Myrick, Daniel (1999)  The Legend Is True - Matt Is In the Corner As Heather Meets Her Fate
[Film Still] From: The Blair Witch Project

Barclay, Ali .(2000) The Blair Witch Project

Empire Magazine (1999) The Blair Witch Project
 (Accessed on 21.02.11)

Maslin, Janet . (1994)  The Blair Witch Project
(Accessed on 21.02.11)

Reservoir Dogs (1992) | Quentin Tarantino
Fig 1 | 'Resvoir Dogs' Film Poster
‘Reservoir Dogs’ was the 1992 debut feature of director Quentin Tarantino and yet more noticeable it was the debut for a new technique in which to represent as story. For Tarantino this was very much his ideology which he used years after in other success such as Pulp Fiction, Kill Bill and Death Proof not to mention his recent feature Inglorious Basterds (although not highly commendably as the others). Tarantino’s tactics where nevertheless editing the film in a non-linage sequence and place the specific fragments in the appropriate place to become an advantage to the plot and storyline.
Fig 2 | Mr Pink And Mr White in stand off

The synopsis of the film follows a make-shift gang of crooks returning from a jewellery heist which takes a turn for the worst. The result sees them battling between each other as they try to figure out why the heist went wrong and who if anyone set them up.; Inevitably ending up in the massacre of the entire crew.  
The film has a generic Tarantino start of a placid conversation which after the main title turns immediately into the action making us engage with the many unanswered question such as ‘What’s happened? Why is he bleeding over the car? And ‘Why he isn’t being taken to a hospital? In these terms the film becomes more a thirst for knowledge as the plot remains unknown to the audience compared to film of normal linage feature which clear explain the turn of events and the reason for the plot.  In these turn Tarantino ‘exploits audience savvy, preferring to build anticipation, mesmerise, and then cut away at the climax’ - Almar Haflidason. Therefore keeping his viewers engaged in guessing what next.
Fig 3 | Uncomfortable - Cop staring up at Mr. Blonde, Mr White, And Mr Pink

Still his use of fragmentation offers up another view in which we can depict the story moreover the reason of the non-linear ideology. For Tarantino his plots seem almost bland in a sense of complexity which compels their viewers to engage in the feature.  For Tarantino it is to see how a more linear production of this film wouldn’t of worked as they plays on the human psyche and anticipation for the reveal. In this case ‘Reservoir Dogs’ is more like a private investigation which is lead by its viewers making us interact with film in the way of solving the mystery o the plot. Moreover the ideology of what has happened and for what reason. This is not doubt to the fragmentation which is like metaphorical speaks out as ourselves finding out the evidence to close the case (conclude the film). In this sense we can notice the elegance of the production and the usage of this within the story which in turn is very much cops and robbers. In theory the fragmentation seems to bring this film into a sense of narrative or a depiction of the story in its aftermath, as in speaks metaphorically as a detective at the final scene mulling over the his ideology. I turn presenting it with the scene titles such as ‘Mr. White, Mr. Orange and etc’ engaging the assailants as suspects and victims. For this reason the ‘A small, modestly budgeted crime movie of sometimes dazzling cinematic pyrotechnics and over-the- top dramatic energy.’ – Vincent Canby . Can quite frankly suggest the imagination of one certain detective or office running the ideology  through question the reason for the ‘John Does’ on the floor and for what reason they’re dead. In conclusion this engagement is quite common of that in Tarantino movies bring the audience in a dynamic way be in the recent direction of Inglorious Bastards which can be portrayed simpler as the audience being and onlooker of the Operation ‘Kino’  and a marshal in a debrief.
Fig 4 | Torture - Mr Blonde MomentsAway From Hacking Cops Ear Off

Moreover this film opened up a metaphorical interaction with it audience and engaged almost the ideology of audience interaction within film following on from his debut, examples being that of ‘Memento directed Christopher Nolan’ in 2000. Still this could be pushed further in a sense to that of other film which although not following the fragmentation technique use the ideology of audience interaction ‘ such as Blair Which, Cloverfield and the most recent Paranormal Activity. Concluding in this sense that Tarantino usage of interaction can last the film industry due to its capabilities of seducing and enticing it audience and for this reason make s it understandable for why the film garnered critical acclaim and Tarantino became a legend immediately.
Fig 5 | Mr Orange Kills Mr Blonde Moments Before He Burns The Cop Alive

Yet for Tarantino it’s easy to see his bravado shine through this movie and through his later collaboration. In term of ‘Reservoir Dogs’  his initiation into the cast as one of the  ‘Dogs’ speaks quite blatantly of his confidence as well as his cast member being pretty much the best in such genre.’ His strong ensemble cast, for reasons of security known to each other by their colour-coded names - principally Mr. White (Keitel), Mr. Pink (Buscemi), Mr. Blonde (Madsen) and Mr. Orange (Roth) ‘. - Jeff Dawson. Depict that this film isn’t one for the unheard actors and due to the tapestry of his plot would suffer without the individuality of the acts interpretation of Mob gangsters. As the ‘Dogs’ portrayed individually as ‘Nasty, brutish and relatively short, this ultimately succeeds through its top-notch performances, most notably from Keitel's seasoned criminal suddenly seized by a sense of morality, Roth's floundering Mr. Orange and Steve Buscemi's brilliantly antagonistic Mr. Pink .’ – Jeff Dawson.
Fig 6 | Awaiting Instruction - The Dogs Sit As They Are Given There Cover Names

 In conclusion, the film in which Tarantino directs suggest the his ego being quite enlarged even through his debut nevertheless this is accountable for his ability to engage quite strongly with the psyche of the audience via interaction and high calibre actors. The support is shown throughout his egotistical directing career having ‘Jackson, Travolta and Willis act in his later classic Pulp fiction’ as well as ‘Lucy Liu and Uma Thurman’ in Kill Bill and the likes of ‘Brad Pitt and Diana Kruger in Inglorious Basterds. Yet there is a feeling in a sense that his debut was his pinnacle in a sense as the Tarantinian feel seems strongest in this picture and from some perspective the greatest of his works to date.
Fig 7 | Laughter Before The Storn - The Dogs On the Way To The Brief
 List Of Illustrations

Fig 1 Tarantino, Quentin (1992) 'Reservoir Dogs' Film Poster
[Film Poster] From: Reservoir Dogs

Fig 2 Tarantino, Quentin (1992) Mr Pink And Mr White in stand off
[Film Still] From: Reservoir Dogs

Fig 3 Tarantino, Quentin (1992) Uncomfortable - Cop staring up at Mr. Blonde, Mr White, And Mr Pink
[Film Still] From: Reservoir Dogs

Fig 4 Tarantino, Quentin (1992) Torture - Mr Blonde MomentsAway From Hacking Cops Ear Off
[Film Still] From: Reservoir Dogs

Fig 5 Tarantino, Quentin (1992) Mr Orange Kills Mr Blonde Moments Before He Burns The Cop Alive
[Film Still] From: Reservoir Dogs
Fig 6 Tarantino, Quentin (1992) Awaiting Instruction - The Dogs Sit As They Are Given There Cover Names
[Film Still] From: Reservoir Dogs

Fig 7 Tarantino, Quentin (1992) Laughter Before The Storn - The Dogs On the Way To The Brief
[Film Still] From: Reservoir Dogs


Canby, Vincent (1992) Reservoir Dogs
 (Accessed on 21.02.11)

Dawson, Jeff . Reservoir Dogs
(Accessed on 21.02.11)
Haflidason, Almar . (2000)  Reservoir Dogs
(Accessed on 21.02.11)

Wednesday, 23 February 2011

Concepts - Character Design

Moving forward I looked at the character design. Front, Side & Angled. The following is my developments.

The Mother

The Father

The Teenage Son

The Manager 

The Little Girl 1

The Little Girl 2 

Juan Serial Killer

The next step is to have the completion of the storyboard done by tonight.

Concepts- Getting The Heads In The Game

So this weeks seen me beginning to finish my work on concepts and story boards. The starting point was to look at the 50's and clearly outline the styles of the facial features. As well as putting my thoughts for character down on paper. So below are the images I produced of each characters.

The Father (& Son)

The Manager

The Son (& Father)

The Little Girls

The Little Girls

Juan - Serial Killer

The Mother

The next step was of course full character design. 

Thursday, 17 February 2011

My 50's Characters - Influence maps

Here are some influence maps I made yesterday so to begin the character design today.

Tuesday, 15 February 2011

@Phil | IOR Request And Apologies

Hi Phil,

Sorry for the lateness on this I have been running it through the grinder to make sure it good enough to make it to the next step. Finger crossed it will go the distance in your eyes. Here is the recent work I have done on the project.

The Script                                                            

The Development                                                            

Sunday, 13 February 2011

The Bird 1963 | Alfred Hitchcock (Review)
Fig 1 | 'The Bird's' Poster
1963 and another smash hit of Hitchcock’s took to the screen. The Birds, similar to the likes of  ‘Rope’ and ‘Psycho’ toys with the fears of the viewers this time though not through human mind but through that of animal evolution.
Fig 2| Crows Gather On The Climbing Frame

The synopsis of this classic film depicts the life of a wealthy San Francisco socialite who pursues a potential boyfriend to a small Northern California town.  No sooner of the socialite arrival at her destination the birds begin to act bizarre attacking all citizens. Meanwhile the socialite Melanie Daniels (Tippi Hedren) tries to win over the mother of potential love.
Fig 3| Hathaway And Daniels Planning Their Escape

Hitchcock begins the feature with the ‘chase’.  In the start scene we see Melanie being made a fool by a handsome Mitch Brenner (portrayed by Rod Taylor) she believes him to be a potential partner. The insanity of which drives her literally to a remote village with a pair of love birds.  Hitchcock suggest for this reason the desperation of woman furthermore the need for a male in their lives which is strengthened when the mother meets Melanie for the first time.  Lydia Brenner (played by Jessica Tandy) seems to struggle with the new woman in the house and questions about her to Mitch. From this point of view we can see the perspective again of Hitchcock as we find out that Lydia has lost her husband. For this reason the Freudian theory of the mother being close to the  son and vice a versa is implied much more sue to the lost of a masculine figure in her life. Moreover, as the conversation between Annie Hayworth (played by Suzanne Pleshette) the viewer is given this ideology plainly as Hayworth states that she feels that the reason the mother never liked her because she was taken the male figure out of the mother life.
Fig 4 | Melanie Dicusses The Birds With The Bar
In turn, Hitchcock vision seems sexist in a way and therefore implies that the birds are also a metaphorical symbol for this also. As we see the escalation of attacks starting with the seagull attacking Melanie on the boat. In theory the uses of the birds suggest that there are distressed much as the mother is at a new figure. Instinctively the birds will attack if their hatchling or eggs are under attack. Hitchcock never states this but the implications of the metaphor suggest such an ideology.  Furthermore their actions are not that different from that of the mother who lashes out at the Mitch whilst their under attack. Stating that his less of a man than his father, then calming down seconds later; very much in correlation with the birds’ attacking strategy. What makes the film Hitchcockian for this reason is it symbolism for that of the female mind but also supplying that extra fear of nature, the inexplicability of evil and, this being Hitchcock, an unhealthy fascination with his female characters' sexual neuroses. - Film 4. In turn he subtle suggests the insanity of a women’s mind and their obsession over a male figure. The final scene therefore leaves and eerie and bitter taste in the mouth as Melanie looks up to the mother who finally seems to accept another presence of a female. Moreover, the ideology that know she has been weakened by the attack she also needs to rely on the mother make us ponder that Hitchcock may be looking at the nature of humanity and like that of the lioness; women who want to be with the alpha male contest for his love.  Furthermore this analogy can be seen via the birds who immediately settle down after Melanie is subdued.  Therefore  ‘the context of the birds concentrating their fury upon a house in which a possessive and jealous mother hovers anxiously over her son’ - BOSLEY CROWTHER suggest that the bird are in fact the mind of the mother. In turn the attacks are imagery of  a woman’s mind in turmoil over a female presence contesting for the male.
Fig 5| Melannie Atacked By A Seagull

Hitchcock although is quite subtle with his opinion of who will win the heart of the male as the lover birds sit peacefully throughout the film. The lovebirds, ostensibly family pets, perching smugly in their cage throughout the attack, seem to Know Something. – Time. These birds speak for the mind of Melanie and her belief that love will triumph over the mother’s need. Therefore Hitchcock’s implied message display inner workings of women’s mind the lover and the family. Moreover for this reason the lover will always prevail and for this reason the birds remain calm meanwhile the motherly instincts run wild and a mass till the build reach breaking point and she attacks.
Fig 6 | Melanie And Schools Kids Under Attack By Crows

 In conclusion Hitchcock’s The Birds is symbolism for the transfer from mothers love to that of a new lover. The use of birds within this suggests quite evidently the clash of minds between both and the inevitable battle that a mother has with a new female presence in their boy’s life. All in all the film follows the very bones of Freud’s theory not to mention implying a sexist slant on woman necessity for a male presence in their lives. The film becomes a much watch as the film is very much about the female instinct and the mind game in which takes place over wining a man.
Fig 7| Final Scene Birds Gathered Outside The House As The Brenners And Mrs Daniels Drive Away

Fig 1 Hitchcock Alfred (1963) 'The Birds' Film Poster
[Film Poster] From: The Birds

Fig 2 Hitchcock Alfred (1963) Crows Gather On The Climbing Frame
[Film Still] From: The Birds

Fig 3 Hitchcock Alfred (1963) Hathaway And Daniels Planning Their Escape
[Film Still] From: The Birds

Fig 4 Hitchcock Alfred (1963) Melanie Dicusses The Birds With The Bar
[Film Still] From: The Birds

Fig 5 Hitchcock Alfred (1963) Melannie Atacked By A Seagull
[Film Still] From: The Birds 
Fig 6 Hitchcock Alfred (1963) Melanie And Schools Kids Under Attack By Crows
[Film Still] From: The Birds 

Fig 7 Hitchcock Alfred (1963) Final Scene Birds Gathered Outside The House As The Brenners And Mrs Daniels Drive Away
[Film Still] From: The Birds


Crowther, Bosley (1963) The Birds
 (Accessed on 13.02.11)

Film 4 (1998) The Birds
 (Accessed on 13.02.11)


Psycho 1960 | Alfred Hitchcock (Review)
Fig 1 | 'Psycho' Film Poster

Another feature directed by ‘Alfred Hitchcock’ in 1960. Needless to say the ideology behind this of all works bring and uncomfortable fact about the human mind as well as for it time horrifying those who watch the story unravel. Once again Hitchcock has developed a film that looks at the darker side of man and the evils we can perform. 

The Synopses revolves around ‘Marion Crane’ (Played by Janet Leigh) whom steals $40,000 from her client.  The madness soon hits home as one night entering a motel off the freeway she meets a young motel owner whom has been too long under the domination of his mother. As the investigation for Marion continues the motel becomes the prime suspects as more people begin to disappear.

With Psycho, his blackest, most cynical and most manipulative feature, Hitchcock introduced the American Nightmare strain into the genre – David Parkinson. Furthermore Hitchcock movie in today’s society looks like it has taken the individual piece from many horrors and thrown it together in one horrific movie. Needless to say that it’s more the reverse as Hitchcock ideologies for the horror genre can now be seen in most Thrillers and Horrors. Moreover the big success such as ’The Texas Chain Shaw Massacre’ directed by Tobe Hooper and ‘Disturbia’ directed by D.J.  Caruso; Display the ideology which has now been aptly called ‘Hitchcockian’.  Theory as side Hitchcock use an everyday person, or object and puts a dark and almost satanic spin on it nevertheless making the film’s  plot a little bit too relatable and in turn a possibility in reality. As for ‘Psycho’ Hitchcock sends a clear message about the way we are as human moreover the insanity of the mind. 

This is present in both Marion and Normans (played by Anthony Perkins).  Marion although is more subtle in a way and is hidden behind the 'victim' title. As we enter the first scene the woman seems in control and yet when Sam Loomis states they can’t be together due alimony; Marion outburst that she wants to marry him. Hitchcock therefore clearly states Marion desperation to be with Sam and for this reason will do anything to help through the alimony charges. Therefore Hitchcock’s imply insanity of love within this scene, which is strengthened by her robbing the $40,000 soon after. This effect however is very clever as is show on small amount darkness in the human nature. In turn a ‘slow build-ups to sudden shocks that are old-fashioned melodramatics, however effective and sure, until a couple of people have been gruesomely punctured and the mystery of the haunted house has been revealed. - BOSLEY CROWTHER.For this reason we expect Marion to be the one of insanity until we encounter Norman bates.
Fig 2 | Marion In Shower Scene

Bates’ posses the young looks and the harmless physical stature. Knocking him out of the running of being a psycho at the beginning but as the scene at when Marion and Norman meet subtle hints suggest him to be insane as he peers through a peeping hole at Marion as well as being suspiciously close to his mother. Moreover the ideology is Freudian without doubt and affects the viewer in a familiarising way of the boy being attached to the mother. Still the very nature curdles the blood as he is being complaining about the mother and changes dramatically when suggested by Marion to take her to the ‘Mental Home’. This is Hitchcock talent as we immediately believe that the insane person is that of Norman’s mother and as see the famous shower scene we believe that she is the monster. With his technique he supplies little hints to guide us to the truth but kept us at an arm length keeping ourselves engrossed in the mystery of that motel.
Fig 3 | Marion Dying In The Shower
Due to this we found ourselves holding the chair as Lila Crane comes into contact with Norman’s Mother and as we see it to be a skeleton and that Norman is the psycho –cross dresser we are immediately discomforted by the scene. Due to the fact that it was hidden so well not by Hitchcock but by Norman furthermore by keeping the secret hidden to the end Hitchcock send the message that even in insanity we are still intelligent. A horrifying thought which has plague movies of the same calibre. As example the idea that we can be out thought by the insane can be displayed through the last scene of ‘Texas Chainsaw Massacre...The Beginning’ Directed by Jonathan Liebesman use the same tactic showing the heroine looking like she achieved an objective. (Be it escaping rather than trying to find the mother) but at the last second Leatherface appears from the back of the car and kills her with the chainsaw.  In conclusion as a ploy to the viewer this is a startle and make us question if those who are insane can still have some sanity to cover or even prevail with their plans. As for Hitchcock’s Psycho the horror is that of Norman in the final scene as he sits with the blanket around him. The monologue sends a chilling shiver down the viewers spines a he states (or shall his mother states that she didn’t kill them and that she is innocent and will be free) Hitchcock therefore leaves it open to suggestion what happens next and toys with the idea of the killer being free again.
Fig 4 | Insanity Taken Over Norman (Mother Thinking Of Escape)

As a whole  What makes "Psycho" immortal, when so many films are already half-forgotten as we leave the theater, is that it connects directly with our fears: Our fears that we might impulsively commit a crime, our fears of the police, our fears of becoming the victim of a madman, and of course our fears of disappointing our mothers. - Roger Ebert. Moreover , it looks at the mind of man and how we are ultimately changed by a certain event or problem.  For Marion we see her becoming insane due to her love for a man and how she’ll do anything to be with him. For Norman the film depicts it's a perfectly realised, visually rich, and chilling look at masculinity and schizophrenia – David Wood. As a result Psycho toys with the mind of man and question our sanity making it immortal to cinema and Hitchcock the director who began the true horror of the human mind.
Fig 5 | The Believed Assain - The Mother Dead

List Of Illustrations

Fig 1 Hitchcock Alfred (1960) 'Psycho' Film Poster
[Film Poster] From: Psycho

Fig 2 Hitchcock Alfred (1960) Marion In Shower Scene
[Film Still] From: Psycho

Fig 3 Hitchcock Alfred (1960) Marion Dying In The Shower
[Film Still] From: Psycho

Fig 4 Hitchcock Alfred (1960) Insanity Taken Over Norman (Mother Thinking Of Escape)
[Film Still] From: Psycho

Fig 5 Hitchcock Alfred (1960) The Believed Assain - The Mother Dead
[Film Still] From: Psycho


Crowther, Bosley (1960) Psycho
 (Accessed on 13.02.11)

Wood, David (2000) Psycho